{"1": {"fulltext": "mmm\\nRNITURE\\nDESIGNING AND\\nDRAUGHTING\\nALVAN CROCKER NYE, t\\nii l i m [ll )H lil pii ni\u00c2\u00abiM iwmM H inir fn r rf m il iiiiiiiiwi w iil i liiliiniiin i iiiiiiirr-n TTT r", "height": "3987", "width": "2618", "jp2-path": "furnituredesigni01nyea_0001.jp2"}, "2": {"fulltext": "LIBRARY OF CONGRESS.\\nChap...L.t?. Copyright No\\nUNITED STATES OF AMERICA.", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0002.jp2"}, "3": {"fulltext": "", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0003.jp2"}, "4": {"fulltext": "", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0004.jp2"}, "5": {"fulltext": "", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0005.jp2"}, "6": {"fulltext": "CARVED LOLIS XVI. ARM CHAIR.", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0006.jp2"}, "7": {"fulltext": "FURNITURE\\nDESIGNING AND\\nDRAUGHTING\\nNOTES ON\\nThe Elementary Forms, Methods of Construction and\\nDimensions of Common Articles of Furniture\\nBY\\nALVAN CROCKER NYE, Ph.B.\\nINSTRUCTOR IN FURNITURE DESIGNING\\nPRATT INSTITUTE, BROOKLYN. NEW YORK CITY\\nNEW YORK\\nWILLIAM T. COMSTOCK\\n1900\\nv.-", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0007.jp2"}, "8": {"fulltext": "TWO COPIES HECElVtL).\\nLibrary of Congret%\\nOffice of tht y\\nMAY 1\u00c2\u00ab 1900\\nhtglstcr of Copyrlgktfc\\n9^ a^ ^c\\nSECOND COPY,\\n62B69\\nCopyright\\nBy ALVAX C. NYE\\nlltOO\\n6", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0008.jp2"}, "9": {"fulltext": "PREFACE\\nTHIS book for the use of students, architects antl oiIkts wlu) at\\ntimes find it desirable to make drawings for furniture, has\\nbeen prepared from material collected during an experience of\\nsome years as a designer of furniture for several of the most\\nimportant furniture-makers in New York City.\\nIt is assumed that a knowledge of how projection and perspec-\\ntive drawings are made has been obtained, and that the general\\nprinciples of design and ornamental forms are familiar to the\\nreader. It describes methods of construction as far as they relate\\nto draughtsman s work, but stops there, for it is not the intention\\nto make this an instruction book for those who wish to become\\ncabinet-makers. The man at the bench may, however, find the\\nparts relating to designing of interest even though the practical\\ndetails are already known, and seem to him incomplete because\\nmany mechanical matters that he realizes are necessary in making\\nfurniture are not mentioned.\\nConstruction details that have been omitted were not thought\\nessential to the draughtsman, and if known by him would be of no\\nservice in making the design or working drawing, as they would\\nnot appear on either.\\nA. C. N.\\nNew York City, 1900.", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0009.jp2"}, "10": {"fulltext": "", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0010.jp2"}, "11": {"fulltext": "CONTENTS\\nPage.\\nPreface 3\\nCHAPTER I.\\nDefinitions, Classification. Proportion 9\\nCHAPTER n.\\nTables, Turnings, Cross Veneering 15\\nCHAPTER HI.\\nChairs, Seats, Sofas, Upholstery 36\\nCHAPTER IV.\\nCasework, Panelling, Bedsteads 57\\nCHAPTER V.\\nThe Drawer 81\\nCHAPTER VI.\\nOrnamentation of Furniture 86\\nCHAPTER VII.\\nTheories of Design, Rendering 94", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0011.jp2"}, "12": {"fulltext": "LIST OF PLATES\\nFrontispiece. Louis XVI. Cliair.\\nI. The Construction of a Table.\\nII. Chair and Table Legs.\\nIII. French Chair Leg.\\nIV. Drop Leaf Tables.\\nV. Pivoted Top Tables.\\nVI. Extension Tables.\\nVII. Chairs. Front and Side Elevations.\\nVIII. Arm Chairs. Seat Plans. Stretchers.\\nIX. Outline of Chair Backs.\\nX. Composition of Chair Backs.\\nXI. Construction and Upholstery of Chairs.\\nXII. Composition and Proportion.\\nXIII. Case Construction.\\nXIV. Mouldings and Panels.\\nXV. Hanging Doors and Lids.\\nXVI. The Drawer.\\nXVII. Ornamental Chair Backs.\\nXVIII. Louis XV. Table.\\nXIX. Louis XVI. Cabinet.\\nXX. XV. Century Cabinet.\\nXXI. Louis XV. Arm Chair.", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0012.jp2"}, "13": {"fulltext": "ILLUSTRATIONS IN THE\\nTEXT\\nPage.\\nBedstead framing 79\\nCard table hinge 31\\nEffect of mouldings 62\\nJoints 65\\nMeeting stiles for hinged doors 75\\nMeeting stiles for sliding doors 75\\nPin hinge 72\\nSecretary hinge 76\\nTurnings 21", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0013.jp2"}, "14": {"fulltext": "INDEX\\nArm chairs, Plans of, 46.\\nApplique metal work, 91.\\nBandy legs, 16.\\nBrackets, supporting leaves, 28.\\nBanister back chair, 45.\\nBearer, 82.\\nBedstead, 78.\\nBookcase, 77.\\nBurnt ornament, 92.\\nBuilt-up table top, 24.\\nButt joint, 66.\\nCane seats, 56.\\nCase work, proportion, composition, .57.\\nCase work, construction, 65.\\nClassification, 9, 10.\\nCastors, 47.\\nCarving, 86, 87, 88.\\nChair, plan of arm 46; arms 48; ban-\\nister back, 45; carved back. .S8; cane\\nseat, 56; construction, 45; dimensions,\\n46; elementary forms, 37; four backed,\\n46; for use at table, 48; Hepplewhite,\\n49; parts of 37; rush seat, 5. i; seat\\ndimensions, 47, 48; stretchers, 46;\\nscissor pattern, 38; slope of back, 49;\\nupholstered, 49; Windsor, 38: wood\\nseat, 45.\\nCover, for upholstery, 55.\\nCross veneering, 24.\\nComposition of case work, 57.\\nConstruction of bedsteads, 79; drawers,\\n\u00e2\u0080\u00a2SI; case work, 65; chairs, 45; tables.\\n23.\\nDraw table, 51.\\nDrawer, hanging, 82; slides, 85; triangu-\\nlar, 85; depth of, 81; pivoted, 85; for\\nmusic cabinets, 83; construction, 81;\\nrunners, 82.\\nDesk lids, 76\\nDimensions of bedsteads, 80; ease work,\\n78; chairs. 56; component parts, 11;\\nsofas, 50; tables, 23.\\nDisposition of ornament, 93.\\nDoors, sliding, 75; swinging, 72.\\nDove tail, 67.\\nDowel joint, 24, 66.\\nDrop leaves, 27.\\nDust panel, ,S2.\\nExtension table, 31.\\nFrench bandy legs, 16.\\nFirst things considered, 11.\\nFinger joint, 28.\\nFour-backed chair, etc., 4\\nFurniture, what is good, 12: plan, 100.\\nGlazing, 71.\\nHepplewhite chair, 34, 49.\\nHinging, 71.\\nJoints, 66; knuckle, 28; finger, 28; mitre,\\n66; mortise and tenon, 67; rule. 27.\\nLeaves, for table, 27.\\nLining-up, 24.\\nMarquetry, 92.\\nMediums, for sketching, 63.\\nMeeting stiles, 72.\\nMirrors, 71.\\nMortise and tenon, 67.\\nMouldings, 61; effect of, t 2; ornamenta-\\ntion, 65.\\nMusic cabinets, 85.\\nOrnament, 93; painted, 92.\\nOver-stuffed work. 53.\\nOriginality, 94.\\nOrmolu, 91.\\nPlan, furniture, lOd; chair seat. 3S.\\nPanels, 67.\\nPainted ornament, 92.\\nPerforated carving, 88.\\nPivot hinge, 72; top table. 28.\\nPivoted drawer, 85.\\nRush seat chairs, 55.\\nRule joint. 22.\\nRunners, 82.\\nScale of sketches, 9(i.\\nStability, of tables, 22.\\nSeats, plans of. 38; wood, 45.\\nSketch, purpose of, 95; scale, 96; medi-\\nums, 99.\\nStyles, 94.\\nSpread, of table feet. 22.\\nStretchers, chairs, 46; table, 21.\\nShelving, 77.\\nSlides, for extension tables, 32; drawers.\\n88.\\nSliding doors, 75.\\nShield-back, 38.\\nStiles, meeting, 72.\\nScissor chair, 38.\\nSofas, 56.\\nStub tenon. 67.\\nStumbling block, 11.\\nTables, construction of, 23; draw, 33;\\ndefinition of, 15; extension. 31; frame\\nof, 22; height, 22; leaves, 27; logs, 16;\\noverhang. 22; parts of, 15; spread of\\nfeet, 22; stability of. 22; tops, built-up,\\n24.\\nTracings paper, use of, 96.\\nTurnings. 21.\\nTufting, 54.\\nUpholstery, 49; block. 53.\\nVarnishing, 86.\\nVeneers, 91 built-up, 24.\\nVernis Martin, 92.\\nWood, qualities of, Ki; seat, 45.\\nWindsor chair, 3*^.\\nWrought iron, 91.", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0014.jp2"}, "15": {"fulltext": "FURNITURE.\\nCHAPTER T\\nDefinitions, Classification, Etc.\\nFURNITURE designing is the art of delineating and ornament-\\ning household effects so they l)tconie objects of beauty and\\npleasure as well as service. Furniture designing means giving\\nthought and study to the proposed plan the seeking for the best\\nforms, sizes, proportions, materials, and workmanship to produce\\nwhat is required. It may be necessary to make several attempts be-\\nfore success is attained, but the result will be the best individual\\neffort. In this sense designed furniture should be useful, handsome,\\nand well made of properly selected material used in an attractive way.\\nFurniture may be made without any special study or thought,\\nthe result being mechanical, careless, and lacking in artistic qualities.\\nA mechanic may make something that is serviceable but extremely\\nugly, and without design. If, however, he has the personal quality\\nthat causes him to take pride in the appearance of his work com-\\nbined with the knowledge of how to proceed to obtain the beautiful\\nhe will become a designer, for he will put his mind to his work,\\ngiving it a personality, independent of chance effects.\\nFurniture made without this thought and study brings to the mind\\nat once the feeling that something is wanting. Either the lines indi-\\ncate an indecision in the mind of the maker, or the methods employed\\nin its construction show no desire to produce the best effect with the\\nmaterial.\\nFurniture can be divided into three classes, according to use.\\nFirst, DOMESTIC FURNITURE, including that for dwellings\\nof every rank.", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0015.jp2"}, "16": {"fulltext": "]0 DEFINITIONS, CLASSIFICATION. ETC.\\nSecond, CIVIL FURNITURE, that for public buildings and\\nplaces of business.\\nThird, ECCLESIASTICAL FURNITURE, for churches.\\nFurniture may also be divided into two groups named for the\\nmethods of construction. The first, Framezvork, includes seats, tables,\\nmirrors, screens, etc.. and all articles not boxed in. The second,\\nCaseivork, includes chests, bureaus, sideboards, desks, etc., and all\\narticles which are cased (boxed) in by panel work or its equivalent.\\nThe materials from which furniture is usually made are wood,\\nmetal and stone. The use of metal and stone need not be considered\\nhere, because these materials are employed for extraordinary furni-\\nture of a more or less fixed architectural character not strictly within\\nthe general accepted meaning of the word. The natural material is\\nwood, which has many qualities to recommend it. It is abundant,\\neasily obtained, and easily prepared in convenient form for use. It\\nis of light weight so that objects made from it are not heavy enough\\nto become inconvenient, and it is sufficiently strong to serve all prac-\\ntical purposes.\\nThe ease with which it is worked into the forms desired, and the\\nfacility with which necessary repairs may be made are recommenda-\\ntions in itS favor. In addition to these advantages, which may be\\ncalled technical, there are the aesthetic and physical reasons why\\nwood is superior to other materials. It is agreeable to the eye in its\\nnatural state, which furnishes a large variety of colors, but if these\\ndo not meet the requirements stains of any shade can be applied with\\nease. It also assumes, under proper conditions, a polish of a greater\\nor less degree. There are no objectionable sensations experienced\\nwhen it is touched by the hand, as it is not hard or harsh, nor is the\\ntemperature unpleasant.\\nThe kind of wood used may have an influence on the character of\\nthe design. Some woods are of a coarse, open grain hardly adapted\\nto small details or fine work. Such woods are oak and ash. They are\\nwell suited to large, heavy articles for severe usage, and of broadly\\nexecuted designs. Woods like mahogany, satinwood and maple are\\nof a fine, close grain and admit of a more delicate treatment. Mould-\\nings and carving in these woods may be smaller in detail than seems\\nl)roper for those of a coarser grain. This feeling is quite well recog-\\nnized by everyone, so that furniture for halls, libraries, etc., is often of\\nthe coarse woods, reserving those of finer grain for the living-room,\\nparlors and bedrooms.", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0016.jp2"}, "17": {"fulltext": "FIRST THINGS CONS WERT. P. n\\nThe character of the wood need not affect the quaHty of the design,\\nas each variety may receive equal aesthetic treatment. The bold,\\ncoarse work may have just as nuich feeling- expressed in the design as\\nthe more delicate. It is not the material used that is the most im-\\nl^ortant consideration, but the form and proportion of the article, and\\nthe harmony of the design with the surroundings. It is the study of\\nthese conditions that gives opportunity for the designer to display his\\nskill. He asks himself: Shall the article be square or oblong? Shall\\nit he high or low in proportion to the width? Or if, as frequently is\\nthe case, one or two dimensions are given, what will be the best pro-\\njiortion for the other?\\nAfter the general proportion and form is determined, then the dimen-\\nsions of the component parts are considered, and it may happen that\\nthese will be the only ones left for the designer,,as the conditions of the\\nproblem sometimes fix all other sizes. By the component parts is\\nunderstood (taking a table as an example) the relation of the size of\\nthe leg to the whole, the thickness of the top, and its projection the\\ndepth of the frame, etc. Such questions must be answered for every\\narticle, and on the solution depends the quality of the design.\\nThe stumbling block for beginners in design is the habit of thinking\\nin feet and inches. One of the first questions usually asked by stu-\\ndents is, how many inches wide shall this, or that, be made? There is a\\nfeeling that because it cannot be answered at once it is impossible to\\nmake the drawing correctly. It is not necessary, in most instances, to\\nknow the figure, as the dimension is dependent entirely on the\\nsense of proportion and practicability. All dimensions fixed by com-\\nmon usage are known or given to the designer; the others should be\\ndetermined by the knowledge obtained from experience and observa-\\ntion. As the designer becomes proficient he learns that within limits\\na square post of a given size may be used in certain places, but\\nwhether it will look better a little larger or a little smaller is deter-\\nmined by judgment.\\nThe sizes of material found in stock need not interfere with the ex-\\npressing of ideas that may occur. Lumber can be obtained of almost\\nany size desired, and if it is not at hand the next largest dimension can\\nreadily be cut down, at the small expense for waste and labor, which\\nin special work is hardly to be considered. It certainly is not advis-\\nable to spoil a good design in order to use material without cutting a\\nlittle to waste.\\nA good piece of furniture must he adapted to the intended use, and", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0017.jp2"}, "18": {"fulltext": "12 DEFINITIONS, CLASSIFICATION, ETC.\\nit should not defy the laws of nature even in appearance. It is not\\nsufficient for it to be strong, but it must appear so, that no thought of\\nweakness may occur; nor ought it to appear unstable. It must be\\nwell constructed, otherwise it soon becomes broken or rickety and\\nwhen new, if carelessly made, there will be something about it to\\ncause dissatisfaction. It ought to be pleasing to the eye, not only in\\ndesign but in workmanship, and its form should express its pur-\\npose. Excessive ornamentation is to be avoided. It is better to have\\ntoo little ornament than too much.\\nConstruction has been placed second in these requirements for\\ngood furniture, believing that by following the laws of utility and con-\\nstruction natural and rational forms will be obtained. A designer\\nshould, then, have a little knowledge of the principles of construction,\\nand in the following chapters the usual methods will be described as\\nfar as is necessary for the needs of a draughtsman.", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0018.jp2"}, "19": {"fulltext": "", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0019.jp2"}, "20": {"fulltext": "", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0020.jp2"}, "21": {"fulltext": "CHAlTi:U il.\\nTables.\\nTHE table consists of a Hat, level surface, suitable to receive what-\\never may be placed upon it, supported on one or more up-\\nrights. The word table properly applies to the top which in early\\ntimes was called a board, and it was, indeed, nothing more, the sup-\\nports being trestles not attached in any way to the top itself. The top\\nmay be made of wood, marble, glass, etc., and is spoken of accord-\\ningly as a wooden table, marble table, glass table, etc. If the material\\nis not mentioned it may be supposed to be of wood. The name of the\\nmaterial is sometimes linked with the geometrical form of the top\\nthus, a square table, a circular marble table, an oval slate table, etc.\\nTables are made high or low, according to the purpose for which\\nthey are used, and may be either with or without drawers. They are\\ncomposed of three partS the top, the frame and the legs. Plate L\\nThe top has been described above. The frame is composed of hori-\\nzontal rails immediately beneath the top and parallel with its edge.\\nIt is sometimes omitted on small tables, called stands, but is com-\\nmon for the larger varieties. It serves as a means of binding the sup-\\nports and top together as well as strengthening the top, which might\\notherwise sag beneath its load. The depth of frame gives apparent as\\nwell as real solidity to the whole structure. The legs are the supports\\nfor the table, and may be secured in several ways to the frame, or its\\nequivalent. There may be but one leg, or post, directly under the\\ncenter of the top, and ending at the floor in a spreading foot, thus\\nforming a pillar table. There may be two uprights, one at the\\nmiddle of each end of a rectangular top, terminating in spreading\\nfeet, usually connected by a horizontal rail, near the floor. There may\\nbe three, four, or more legs, but four are most frequently used. These\\nlegs may be of an endless variety of shapes, and decorated by mould-\\nings, carving, inlay, etc.\\nOn Plate II. are shown twelve legs which can be termed elementary", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0021.jp2"}, "22": {"fulltext": "1 6 TABLES.\\nforms, as nearly all others can be reduced to one of these. They are\\nshown as chair legs, but they difTer from table legs in proportions\\nonly. By comparing the plans and elevations the drawings explain\\nthemselves clearly but it is desirable to study particularly numbers\\n1 1 and 12. Eleven is the bandy leg with the ball and claw foot used\\non Dutch and Colonial furniture. In many ways it resembles 12,\\nwhich is the Louis XV. or French bandy leg. This latter is\\nmuch lighter, more graceful and ornamental than the Dutch form,\\nbut it at times seems too frail to support the weight it carries and,\\nagain, the curved lines make it appear as if bending beneath the\\nstrain. In many of the exaggerated patterns of these legs the violent\\ncurvature causes the defects not only to become more prominent but\\nactually makes the leg weak. If the curvature is great the vertical\\ngrain of the wood crosses it at one or more points, and at each of these\\nplaces there is danger of the leg breaking. By examining the draw-\\nings Nos. II and 12 (a larger drawing of 12 in three positions is\\nshown on Plate III.) it will be seen that a vertical line may be drawn\\nthroughout the entire length of the leg without intersecting its\\ncurved outline. This vertical line represents, then, a portion of the\\nstick from which the leg is cut that has not had the strength weak-\\nened. The leg increases in strength directly in proportion as the dis-\\ntance between the contour lines and such a vertical widens. The\\ndraughtsman is to observe that, although moulded and cut in irregu-\\nlar forms, the cross section of this leg at any place is practically\\nsquare, and that in making it a square stick is first sawn so as to have\\nthe shape shown as front and side elevation (Plate III.) and then\\nturned over at right angles, on the vertical axis, and the same form\\ncut again. As a result the diagonal view will curve as shown. When\\nthe leg is complete and casually examined it is seen in the diagonal\\nview. It is with the recollection of such a view in mind that the de-\\nsigner too frequently lays out the curve for the front and side eleva-\\ntion, giving them the sharp sweep he really intends for the diagonal\\nresultant curve. When the work is made from such a drawing the\\ndraughtsman is surprised to find how great the curve is. In design-\\ning the bandy leg the proper method is to draw its three elevations\\nand plans as on Plate III. and study the outlines carefully till sure\\nthey are right.\\nWhatever may be the shape of table legs they should be propor-\\ntioned to the dimensions of the top that they may not seem either too\\nfrail or stronger than necessary for the purpose of support. Occa-", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0022.jp2"}, "23": {"fulltext": "CHAIR AND TABLE LKG.S\\n(i) (D Q) Q\\nn\\nFuK 11.\\nn\\nis\\ntLmTI0h5\\n11 1\\nPLAN5\\ni^w yi\\nI\\n=5\\nELEVATIONS\\nM\\n(3 a\\nPLANS", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0023.jp2"}, "24": {"fulltext": "", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0024.jp2"}, "25": {"fulltext": "FRENCH CHAIR LEG\\nDlAGOnW. LLtVMlori.\\nFROHT\\nXML I I I 1 I\\n^T\\\\", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0025.jp2"}, "26": {"fulltext": "", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0026.jp2"}, "27": {"fulltext": "TURNINGS.\\n21\\nsionally it may be desirable to make them so small and delicate thai\\nthe table becomes shaky, owing to the elasticity of the wood, though\\nthey may be quite strong enough in appearance, and in reality, to\\nsustain the weight intended to be placed on them. When such is the\\ncase the legs can be connected, near the floor, by horizontal braces,\\nknown as stretchers. Plate VIII. shows three arrangements of\\nstretchers as applied to chairs, and those for tables are similar.\\nTURNINGS\\nStretchers are sometimes used for sesthetic reasons when not needed\\nto stiffen the support. Tables having legs like Xos. 7 and 8, Plate II.,\\ndo not look well without stretchers the baluster forms of the turn-\\nings and the heavy foot of each leg seeming to demand a framework\\nbinding the supports together.\\nTurnings are used continually in the construction of furniture, and\\nthey always appear smaller than a square stick of the same dimen-\\nsions. This is apparent in the above illustrations. No. i\\nshows the projection of the corner of a parallelopiped beyond the", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0027.jp2"}, "28": {"fulltext": "2^ TABLES.\\ninscribed cylinder turned from it. The angular projection exists\\nwhenever an abrupt change from a square to a turned section is made.\\nAs this is objectionable in furniture work, it is cut away by rounding\\nofif the angle as in No. 2, or by moulding it as in No. 3. Neverthe-\\nless if, as in these examples, the diameter of the cylinder and the side\\nof the square are the same the turning appears so much smaller than\\nthe square portion of the stick that the transition is too great.\\nWhen the design will admit the square parts of the stick are cut\\ndown after the turning is made, so that they are a trifle smaller than\\nthe turned portions. This makes the two sections seem more nearly\\nof the same dimensions, and is shown in No. 4, whore a torus and\\nfillet are also introduced to make the change of form more gradual.\\nThis same feature is shown in No. 5, where the angles of the square\\nare cut away. The square is smaller than the diameter of the turning,\\nand the torus is introduced to grade the transition. No. 6 is a longi-\\ntudinal section of No. 5. The use of the torus or a bead between the\\nsquare and turned parts of a post seems desirable in most cases, what-\\never the profile of the turning. No. 7 shows it in use on a twisted\\nturning.\\nThe depth of the frame of the table is largely a matter of individual\\ntaste. If, however, the table is one at which a person is to sit, with his\\nknees beneath it, the frame must not be so deep as to reduce the space\\nbetween its lower edge and the floor to less than two feet.\\nAn important condition of beauty in a table is its stability. It\\nshould not appear insecure on its feet, as happens if the legs are placed\\ntoo far beneath the top. A safe guide is not to make the spread of the\\nfeet of a table less than two-thirds the spread of the top or, in other\\nwords, the overhang is one-sixth of the top. The overhang may be\\nconsiderably more than this before the table becomes dangerously in-\\nsecure, but it will have, nevertheless, an appearance of instability, es-\\npecially if the width of the top is less than the height above the floor.\\nIt is well to round off slightly the corners of rectangular tables,\\nthat they may not present a sharp angle.\\nThe size of a table is determined by its use and the location it is to\\noccupy. Unless intended for a special purpose it is thirty inches\\nhigh.\\nPossibly the most important uses to which tables are put are those\\nof dining and writing. For either of these a table thirty inches high\\ncan be and is used continually, but there are those who find this some-\\nwhat too hi^h. A dining table should be sufficiently low that a per-", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0028.jp2"}, "29": {"fulltext": "DIMI-XSIOXS TAIU.r.S. 27,\\nson need not raise the dhows wlicn eullini; his fooch and that his plate\\nrests well below him. If a writing- table is too high it is tiresome to\\nsit at and write. Many dining tables and writing tables are, therefore,\\nmade but twenty-nine inches high. The side table used in dining\\nrooms as a place from which to serve dishes or to carve should be\\nthirty-six inches high.\\nA dressing table is made thirty inches high unless the person to use\\nit requests that it be made otherwise. Parlor, fancy tables, etc., in-\\ntended for ornamental use only, are made to correspond with the sur-\\nroundings of the rooms in which they are placed, and may be any de-\\nsired height, as they are neither intended to sit or stand at. The fol-\\nlowing list will give the dimensions of tables of average sizes that\\nhave been made and found satisfactory. It will serve as a guide or\\nstarting- point in laying out new designs:\\nDIMENSIONS OF TABLES.\\nVariety. Length. \\\\Vi;Uh. Height. Remarks.\\nBedrocm ;n 1:2 29\\n18 IS 30 Ccmracde.\\nBijou ,ii ::\u00e2\u0080\u00a2_ .-jO\\nCarving table 42 2I 3\u00c2\u00ab)\\nDressing table M* 20 oO\\nExtension table (iii Wi 30 Rcund.\\nri4 r 4 30 Square.\\nLibrary table TA 41 30 Oval.\\n42 27 20\\nr.4 \u00e2\u0080\u00a2^A 29\\n(!0 30 29\\nTra table 1. 13 20 Rcund.\\nLS IS 24\\n^23 17 29 Upper shelf.\\n30 23 IS Lower Shelf.\\nNote: All dimensions are in inches.\\nThe parts of a table have already been named it remains to see how\\nthey are put together.\\nThe frame is joined to the legs either by the mortise and tenon or\\nhy doweling. The former joint was the old way of framing, but since\\nthe introduction of dowels the tenon has largely gone out of use\\namong furniture makers. They consider it old-fashioned. And\\nowing to the shrinkage of the tenon or the carelessness with which it\\nis made it does not seem as strong or equal to a dowel-joint.\\nThe mortise and tenon consists of a tongue (tenon) cut on the end\\nof one of the joined pieces so as to fit tightly in a cavity (mortise)\\ns unk in the other piece. In table work the tenon is on the end of\\nthe frame and may or may not be its full width, while the mortise\\nis in the leg. Plate I.", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0029.jp2"}, "30": {"fulltext": "24\\nTABLES.\\nThe dowel joint derives its name from the dowel, a wooden pin,\\nused for fastening the two pieces together by inserting part of its\\nlength in one piece, the rest of it entering a corresponding hole in the\\nother. Where possible more than one dowel is used. In table work two\\nor more are fitted in holes bored for them in the end of the frame,\\nand in the proper position on the legs are corresponding holes in\\nwhich the dowels fit, and are glued when the two parts are brought\\ntogether. Some small tables are constructed without a frame; in\\nplace of it there is a wooden cleat fastened to the underside of the\\ntop and the full diameter of the leg is inserted in this block or if\\nthe leg is of large size it is tenoned into the block.\\nThe top of a table may be solid or veneered. When small and\\ncheap work is desired it can be made of solid wood but otherwise\\nit should be built up and veneered. Solid wood tops shrink, crack,\\nor warp. The only sure way of avoiding these unfortunate occur-\\nances is to build-up the top. The building up process consists in\\nconstructing a core of some common, well-dried, lifeless wood, pre-\\nferably chestnut or pine. This core is of several strips of wood\\ndoweled together at the edges until a board is made about the size\\nof the required top. These strips are arranged in a way that the an-\\nnular rings curve in opposite directions in each alternate piece. The\\ncore is next cross veneered on both sides with hardwood, generally\\noak. A cross veneering is laid so that the grain is at right angles to\\nthat of the wood on which it is applied. In table work it is at right\\nangles to the grain of the core and the finish veneer both of these\\nnaturally follow the length of the top. All round the edge of\\nthe top, after it is cross veneered, is fastened a strip of the finish\\nwood of the table. (Plate I.) Finally, both sides are again veneered\\nwith the finish wood; that is, if the wood is not too expensive. If\\nit is costly a cheaper veneer is placed on the underside.\\nWhen the design calls for the edge of the top to appear thick it is\\na needless waste of material to construct it of wood the full thick-\\nness, besides making an unnecessarily heavy piece of furniture. To\\navoid this, and yet obtain the appearance wanted, a frame of wood is\\nfastened to the underside of the otherwise thin top, giving the thick-\\nness required. This frame is called the lining piece and the top is\\nsaid to be lined up.\\nThe method of fastening the top to the frame of the table varies\\nwith the class of work, and the size. If it is a small table no special\\ncare is taken, the fastening consisting of screws driven through the", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0030.jp2"}, "31": {"fulltext": "", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0031.jp2"}, "32": {"fulltext": "DROP LEAF TABLES\\nPlate IV.\\n(S) ^w\\nPLDIHG bUaU5 m 3UPP0RTinG LEAV[5", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0032.jp2"}, "33": {"fulltext": "TARLIl UIAVIIS.\\n27\\nrail into the underside of the top. If the rail is narrow and thiek\\nenough the screw is set straight through it. If, however, it is a wide\\nrail the screws are driven in recesses cut for them on the inner side.\\nMost tables are too large to admit of this method. A top fastened as\\njust described is held fast to the frame so if shrinkage takes place\\nthere is a strain somewhere that may result in a cracked top. To\\nallow for any movement that may occur short blocks having a tongue\\nthat fits securely in a groove cut on the inner side of the table frame\\nare screwed to the underside of the top. These blocks hold the top\\nfirmly in position and yet if a shrinkage takes place they are free to\\nmove in the grooved frame.\\nTables are frequently provided with a drawer either in the frame\\nor hung beneath the top on cleats. How drawers are made, and the\\ndifferent kinds, are described in Chapter V.\\nThere are occasions that require a table larger than it is conven-\\nient to keep standing continually in a room. In early times when\\ntables were nothing more than boards resting on trestles, if they were\\nnot needed, the board was turned up against the wall and the trestles\\nstowed away. When the top and the supports became fastened to-\\ngether methods were invented for reducing the size of the table, that\\nit might not take up too much space or for enlarging it for special\\npurposes. One of these methods is the use of leaves or flaps, that\\nfold down against the side of the legs. Two things are to be ob-\\nserved in such tables the way the leaves are hinged, and how thev are\\nsupported when raised.\\nIn cheap vvork the edges of the leaves and top, where they meet,\\nare cut straight and square, forming a plain joint, and the leaf is\\nhung with a hinge on the underside. Plate I\\\\ No. i. When hung\\nin this way a small crack is seen between the top and the leaf as the\\nlatter hangs down, and the hinge also shows.\\nIn better work both these things are considered faults and to avoid\\nthem the rule joint is used. Plate I\\\\ No. 2. This joint is made by\\nmoulding both the edge of the leaf and the top where they meet tlie\\nmoulding on the leaf being the reverse of that on the top. The top\\nis cut W ith a projecting tongue rounded like a quarter cylinder, and\\nthe leaf is hollowed to receive it. The hinges are sunk into the under-\\nside of the top and leaf with their center corresponding with the cen-\\nter of the quarter round moulding of the meeting edges. Then, as\\nthe leaf swings up or down its rebated edge fits snugly against the\\nmoulded edge of the top. The hinge is practicall}- concealed and\\nthere is no open joint.", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0033.jp2"}, "34": {"fulltext": "28 TABLES.\\nThere are small tables made with two leaves hinged in a similar\\nway to that just described, so when both are down the table is no\\nwider than the cylinder plus the thickness of the leaves.\\nLeaves may be supported by brackets attached to the frame and\\nswinging out under them. The brackets may be hung with metal\\nhinges, but better ways are illustrated on Plate IV., Nos. 3 and 4.\\nThese drawings show folding brackets somewhat similar in construc-\\ntion made by fastening to the side rail of the table frame a block with\\none end cut so as to interlock with one end of the bracket. A metal\\npin through the two pieces where they interlock serves as an axis\\non which the bracket turns. In No. 3, the finger joint, the corners\\nof the working parts are bevelled ofif that the bracket may turn. In\\nNo. 4, the knuckle joint, they are rounded so the parts fit closely and\\nare in contact in w hatever position the bracket may be. The finger\\njoint can be made the strongest as more wood may be left between\\nthe pin axis and the ends of the tongues than in the other. The\\nknuckle joint is considered the neatest, but it is more difficult to con-\\nstruct, and as the bracket is hidden from view the difference in ap-\\npearance does not warrant its use.\\nSometimes when the depth of the frame will permit a portion of it\\nmay be cut so as to swing on a pin at the middle, and thus when\\nturned at right angles to the frame one half is beneath the top, the\\nrest acting as a support for the leaf. Plate IV., No. 5.\\nBracket supports are not strong, and a table with a large leaf is\\nunstable. To obviate this tables are made with a leg that swings out\\nunder the leaf giving it support, and stability to the table. When\\nsuch a table has a stretcher the movable leg is strengthened by fas-\\ntening it to a hinged bracket at the stretcher level in addition to the\\none on the frame. Another way of supporting drop leaves is to ar-\\nrange slides that may be pulled out from the table frame beneath the\\nleaves when they are raised.\\nThe tables described thus far have the top fixed, but there are those\\nwith the tops pivoted so when they are turned about the pivot a\\nquarter way round the leaves will be supported by the frame of the\\ntable, which in the revolved position of the top, lies beneath them.\\nTwo varieties of this style are illustrated on Plate V. The first is an\\nold style drop-leaf table pivoted at the middle of the top. By rais-\\ning both leaves and turning the top on its pivot the ends of the frame\\nare brought beneath the leaves to support them. The second table\\nis in more common use. The top is of two parts, of the same size", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0034.jp2"}, "35": {"fulltext": "PIVOTED TOP TABLES\\nPlate V.\\nDK0PL[ArTA5L[\\nrP\u00c2\u00b05ITI n op Top\\nFADING T^T\\n/T\\\\", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0035.jp2"}, "36": {"fulltext": "", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0036.jp2"}, "37": {"fulltext": "EXTIiXSIOX TABLES.\\n31\\nand shape, hinged together so one pari folds over on the other.\\nWhen folded the top is but half the size it is when open, and can be\\nturned on the pivot to a position over one end of the frame with the\\nhinged edge directly across the middle. The upper leaf may then\\nbe unfolded and will rest on the other end of the frame. Such tables\\nare u-^nnllv square, when open, and arc spoken of as card tables.\\nM\\nCahd-tabll HinCiE..\\nThe hinges used for joining the two ixuls of the top are not ordni-\\nary butts. They are of a special form, as will be seen from the ad-\\njoining illustration, and are placed at each end of the leaves with the\\nscrews driven into the edges. This avoids the appearance of any\\nobjectionable metal work on the surface of the table top, as would\\nl)e the case if ordinary butts were used with their entire flaps exposed\\nto view. The card-table hinge has no projecting knuckle above the\\nsurface of the table, as its parts, instead of turning on a single pin,\\nare joined by a link turning on a pin in each flap of the hinge. This\\nlink is flush with the edge of the table when the leaves are closed, and\\nflush with the top when they are open. There are other forms of this\\nhinge available.\\nOther ways of increasing the size of tables are shown on Plate VI.\\nThese are extension tables.\\nThe upper one is the old draw-table, and is not used much now.\\nA study of the drawings will show that the leaves enlarging the table\\nare slides that pull out from beneath the top. Each slide is about\\nhalf the length of the top. so the table is nearly doubled in length when\\nboth are pulled out. It should be noted, too, that to be of service\\nthe slide must be pulled out its full length, otherAvise the top and slide\\nare not on the same level. This means that there are but two changes\\nin size for this kind of a table. Either it is increased by the whole of\\none leaf or by both. The top of the table is not solidly fastened to\\nthe frame, but is free to move vertically, a little, though prevented\\nfrom moving in any other direction by keys fastened to its underside\\nand passing through a rail, the same thickness as the leaves, fastened", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0037.jp2"}, "38": {"fulltext": "32\\nTABLES.\\nto the frame. Each sHde has two bearing pieces fastened to its un-\\nderside, one at each end. The bearing pieces are as long as the\\nframe of the table, or a little longer, and when the slide is drawn out\\none end of them bears against the underside of the rail to which the\\ntop is keyed, while their lower edge rests on the frame of the table,\\nnotched to receive it. They are cut at the proper bevel, so when\\ndrawn out the top and slide are on a level, and the slide is held se-\\ncurely in place against the edge of the top.\\nThe common extension table is familiar to every one. The\\nillustration presents it in the simplest form. It is really a table with\\na telescopic frame, and provided with extra sections of a top that may\\nbe added till the frame is extended its full length. The leaves are\\nmade of sizes from twelve inches to twenty wide, and the tables are\\nmade to extend as desired, the average being from twelve to sixteen\\nfeet.\\nEach manufacturer has his own method of constructing the tele-\\nscopic frame, or slides as they are called, the differences depending\\non patented devices for holding the slides together. The principle,\\nhowever, is the same in all. Plate VL illustrates a section through\\ntwo slides showing one device. The sides of the slides are grooved\\nto receive keys that dovetail them together. Each slide when pulled\\nout to the extreme laps over those adjoining it about one-third, and\\nstops are provided to prevent their being separated more than this.\\nThe slides are of wood, an inch and a half to two inches thick, nearly\\nas wide as the table frame is deep and about as long as the under-\\nside of the table, when closed, will permit. The number of slides de-\\npends on the length to which the table is to be extended. There are\\ntwo sets an odd number on each side of the table. The outer pair\\nare screwed firmly to the underside of one-half of the top, and the\\ninner pair to the other half. All the slides, except these, are free to\\nmove. As most tables extend too much for the slides to support\\nthe weight at the middle, it is usual to provide a center leg. This leg\\nis fastened to the middle of a transverse rail screwed securely to\\nthe middle slide of each group.\\nThe frame of the table when extended is separated at the middle,\\nand if a cloth cover is not used the slides are exposed to view. This\\ninterrupted frame is unsightly, and each leaf may be provided with\\nits section of frame so that when in place no gap is left between the\\nextended ends. There are card tables made so two of the legs and one\\nside can be pulled out to support a leaf when it is open. They are\\nsmall extension tables, the frame itself forming a part of the slides.", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0038.jp2"}, "39": {"fulltext": "EXTKX^ION TAbLt:^\\nFlatl VI.\\nA DRAW TABLL\\nSLIDE. CLOStD\\nSLIDE DWWN OUT\\nttllARQCD SiCim 5H\u00c2\u00b0WIN(i\\nl\\\\tY THROUGH RAIL *A 1\u00c2\u00b0\\nH\u00c2\u00b0LD PP IN F1ACE.^\\n-StCTiOM THROUfiH\\nTop ^F PR.W TABLE\\nA ^ECTrN F T/;\\n^T\\\\", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0039.jp2"}, "40": {"fulltext": "", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0040.jp2"}, "41": {"fulltext": "", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0041.jp2"}, "42": {"fulltext": "CO\\nO\\n\u00e2\u0080\u00943\\nw\\nSo\\na\\n\u00e2\u0080\u00a2m n 1 T~i\\nen II n rr u\\ni\\ns S L 1\\ng s", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0042.jp2"}, "43": {"fulltext": "CHAPTER III.\\nChairs, Seats, Sofas.\\nT- HE parts of a chair are the leRS, the seat frame, the back, and\\nThe s::t ::L,!::r\u00e2\u0080\u009ef Lst instances an the rails are doweUed to\\nthe itr^^ back posts. The seat frame is stififened by corner blocks\\nc eted ecurely to the inner side. If these blocks are w.de and\\nveil fastened they add very materially to the strength of the cha.r.\\nTl c tplXery blocks mentioned on page 3. also st.ffen the tra.n-\\nckar in the mind to do so. It is, however, only by means of the pro-\\nlet on drawings that the true forms of the different parts may b\\nknln and even though the sketch is made at once w.thovU the.r a.d\\na kno vl edge of what they are like is necessary. Chairs, when drawn\\nin s d elevation, assume one of the hve elementary forms shown on\\nPlate VII.. where attention is called to the relatton of *e support ng\\nmembers o a vertical line. These outlines are drawn from actual\\nExamples and are at the same scale for purposes of companson^\\nThe front elevation will appear like one of the three types show,\\non th s plate. The one on the right, if drawn n stde elevat.on won d\\nhave a straight back and straight legs; the one on the left would\\nhav the df elevation like one of the first three illustrated the one\\nin tie middle would appear in side elevation much the same as t\\ndoe n the front, i. e., all legs and the back inclined. It .s a draw ng\\nof a Windsor chair, with a solid wood seat, somettmes called he sad-\\nde sea because of its shape. The legs and back P\u00c2\u00b0f l d for\\nin tl s seat by inserting the full size of the turn.ng .n holes bored for", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0043.jp2"}, "44": {"fulltext": "38 CHAIRS, SEATS, SOFAS.\\nthem, and the seat frame is omitted but the legs are tied together by\\nstretchers.\\nItalian and German chairs, with backs and legs of solid boards\\nelaborately carved, appear in the same inclined form when drawn in\\nelevation. The scissor pattern was originally a folding chair, but\\nalthough the form is retained it is not always made to fold, though\\nboth folding and fixed chairs present a similar elevation. The plan\\nof a chair seat approximates a square, a triangle, or a circle. The\\nprinciple varieties with the position of the legs, in relation to the\\nframe, indicated by the shading, are shown on Plate VIII. The\\nsquare plan, though not uncommon, is less frequently seen than the\\ntrapezoidal. This latter is perhaps the most used, either with the\\nstraight frame, as on the left of the dotted line in the illustration, or\\ncurved as on the right. Triangular seats though used in olden times\\nare not common now, except for corner seats.\\nThe circular and composite plans are constantly employed. The\\ncomposite form made up of curves and marked French, is the\\nplan of the Louis XV. arm chair given as an example ot rendering,\\nPlate XVIII., and the plan on the right riiarked Windsor, is that of\\na Windsor chair similar to the inclined form, Plate VII.\\nThe outline of nearly all chair-backs is either rectangular or trap-\\nezoidal. Plate IX. If of the first, the back posts are perpendicular\\nto the floor line and the legs are the same distance apart at the floor\\nas at the seat level.\\nIf of the second form, the back posts are inclined to the floor line\\nso that the legs are nearer together at the floor than at the seat level,\\nand the back of the chair is proportionately wider at the top than it is\\nat the seat. Though a chair may have a more complex and elaborate\\nback than any of those taken as examples for illustration, an analysis\\nof the outline will result in finding that it is based on one of these\\nfigures. The other four shapes illustrated are not as frequently used\\nas the first two. This is particularly true of the polygonal and semi-\\ncircular patterns.\\nBoth of these are taken from French examples. The elliptical\\nback is also a favorite form for French chairs. The shield-back is\\ncharacteristic of chairs made by Hepplewhite about 1793, and called\\nby many Colonial. It is well to observe, while studying these\\noutlines, a constructive principle common to all of them. Whatever\\n;he outline of the back it is made up of two vertical posts extending\\nfrom the floor to a horizontal rail connecting them at the top at the", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0044.jp2"}, "45": {"fulltext": "TlAuVI\\nARMCHAIRS\\nSEAT PLMS\\nSHOWING POSITION Of LtGS.", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0045.jp2"}, "46": {"fulltext": "", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0046.jp2"}, "47": {"fulltext": "pLAttlX.\\nREQTANOl/UR\\nOUTLINE OF CHAIR BACKS\\nTRAPEZ01D/\u00c2\u00bbL Q2)\\nw\\nJ\\nJl\\n/7=^\\nStni- CIRCULAR,\\na", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0047.jp2"}, "48": {"fulltext": "", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0048.jp2"}, "49": {"fulltext": "", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0049.jp2"}, "50": {"fulltext": "COMPOSITION or BACK\\nPlate X.\\nSPLAT\\nVERTICAL\\nBANISTER\\nVERTICAL\\ntCOC^tCrJl\\nyojioou\\nOiK\\nR\\n^T\\\\\\nft a s ft\\nF\u00c2\u00b0UR BACK\\nHORIZONTAL\\na\\nOUTLlfIL Of PP RAIL5", "height": "3871", "width": "2566", "jp2-path": "furnituredesigni01nyea_0050.jp2"}, "51": {"fulltext": "COSSTRICTIOX or BACK. 45\\nsea. level is a l.orizon.al rail (sea. tran,e, and in so.ne ^^^^j\\nis another horizontal rail a. a greater or less d.stance aW I he seat^\\nThe student is to notice especially that the uprtghts he .ack leg\\nare of one piece iron, the Boor to the top ra.l of the back Th,s\\nen forgotten by beginners in chair designing, and weak almo\\nintpossible, shapes are given to the back as a result. ^hpt a\\nand shield-backs, though at first glance violating thts rule, are really\\ncomposed of the parts as mentioned above. A larger drawmg of he\\n,h eld-back is given on Plate X\\\\II., showing by the dotted hues the\\nP otngation of the lower part of the leg; and the jomts where the\\n[op and bottom rails of the shield meet the uprights are also indicated.\\nAllot er chair back is also shown on the plate illustrating the sanu,-\\npr n iple. There is but one exception to the above method o con-\\nstrtKtion, and that is, when a solid wood seat is used similar to the\\nX seated Windsor; the German S.uklc. with turned legs and\\nh Italian ScaMu.n. with its solid board supports. In this case h\\nleg, and the back are separate. Each leg is inserted in holes lor the\\nniirnose in the board seat.\\nHrving determined on the outline of a chair back it is necessary\\nto stidvtts composition, that is, to decide how the space wihinth\\noutte is to be Ireated. This question is sometimes decided be ore\\n\u00c2\u00b0he desi.ni is begun, as, for instance, when it is panelled or uphol-\\nred tf. however, it is to be of some other pattern, study is neces-\\nsary Aside from the methods just mentioned the back may be\\nfilling the space has been called a banister back. Lut the slats are\\nof a person sitting in the ^f.f ^ptng of the back\\nture of the slats is sometimes substitutea tor tne i\\naairs made with turned posts and having horizontal slats in the", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0051.jp2"}, "52": {"fulltext": "46 CHAIRS, SEATS, SOFA^\\\\\\nback were named by the number of slats. As, three backed, or four\\nbacked chairs that is, three or four horizontal slats. Five backed\\nchairs were quite uncommon.\\nIt is perhaps almost unnecessary to say that both horizontal and\\nvertical slats may be used in the same back. There is an endless\\nvariety of ways in which these slats and balusters may be grouped,\\nspaced, and proportioned to fill the space well. Whether the slats\\nor the spaces shall be the broadest? What is the best outline for the\\nbalusters? Are the kind of questions the designer is to ask himself,\\nstriving always to obtain the beautiful rather than the eccentric and\\ncurious forms.\\nThe outline of the top rail of the rectangular and trapezoidal\\nbacks has its influence on the appearance of the chair, and it may be\\nmore or less ornamented. Four forms are shown on Plate X. which\\nexplain themselves.\\nIn Plate VHI. are shown five plans of arm chairs. One of these\\nhas the arm straight, following the plan of the seat. Two of the\\nothers indicate how the space between the arms is made wider than\\nthe seat at the back by curving the arm the front post remaining in\\nthe same position as in the first plan. The plans drawn beneath the\\nchair with the receding arm post show how the arm may be a\\ncompound curve or a continuation of the curve of the back. In the\\nformer not only does the curve give a maximum width between the\\narms, but it also permits of the front scroll of the arm turning out,\\nthus preventing the chair from seeming narrow.\\nIn some chairs the plan of the arm follows the curve of the back\\nso there is no angle where the two join. This is illustrated in the\\nplan of a Windsor chair, where the piece from which the arm is\\ncut is continuous from one side of the chair to the other, the slats of\\nthe back passing directly through it.\\nChair arms may be horizontal or they may slope to a greater or\\nless degree with the highest point where they join the back.\\nStretchers are used to strengthen the chair. The legs when braced\\nby them are more firm and less likely to loosen at the seat frame\\njoint. Plate VIII. gives the plans of three arrangements of stretchers.\\nWhen placed high enough to be out of the way of the feet of a person\\nusing the chair the stretcher may form a trapezoid parallel to the\\nseat frame; or, if the chair seat is high and a foot rest is desired, the\\nstretcher may be arranged this way and set low for the purpose. In\\nolden times European chairs were always made high and with a foot", "height": "3902", "width": "2564", "jp2-path": "furnituredesigni01nyea_0052.jp2"}, "53": {"fulltext": "niMliXSIOXS SI- AT. 47\\nrest, that a i)crson inii;lu kccj) his feci off of the cold lloors. Now\\nthat it is not necessary to keep the feet away from the floor, it is not\\ncustomary to allow them to touch the stretchers of chairs. These\\nare, therefore, arranged diagonally between the legs of the chair\\nor, the front and back legs are joined together by rails, while a third\\nunites, the two side rails. This third rail may be set in any position,\\nbut frequently it is a little nearer the front than the back.\\nOne of the most difficult tasks the furniture draughtsman has is\\nto design and lay out for the shop the drawing of a chair that will be\\nsatisfactory. No drawing is more deceptive than the full size for a\\nchair, and it is by experience only that a draughtsman can judge what\\nwill result from the working drawing. Most draughtsmen of con-\\nsiderable experience when working- out a detail endeavor to have be-\\nfore them a chair somewhat similar to the one they are drawing.\\nA good chair should first of all be comfortable to sit in. If in-\\ntended for general service it ought not to be too heavy to move about\\neasily, and it should be well proportioned.\\nIn planning the seat determine its height above the floor, its width\\nat the front, its width at the back, and the depth from front to back.\\nThese vary as desired, and what will make a satisfactory chair for one\\nperson, may be quite unsuited to another; consequently there are all\\nsorts and sizes of chairs. It is, however, desirable to have a starting\\npoint from which to reckon, and experience has fixed a chair seat\\neighteen inches above the floor as proper, no conditions being given.\\nIf it is less than this it is considered low, and if more it is high. The\\npurpose for which a chair is to be used also serves as a guide for di-\\nmensions. If intended for use at a writing table eighteen inches will\\nbe satisfactory if for a dining chair eighteen and a half, or nineteen\\ninches is not too high. Occasionally as high as twenty inches may\\nbe used. When the chair is not to be used at a table seventeen and a\\nhalf, or seventeen inches high is satisfactory for most purposes.\\nIn making the drawing from which a chair is to be constructed\\ncare must be taken to determine whether it is to have castors or not.\\nIf it is to have them the leg must be shortened accordingly, for the\\naverage castor is one and five eighths inches high from the floor to\\nthe top of the plate screwed to the under side of the chair leg.\\nThe depth of the seat, that is, the distance from the front to the\\nback, is varied with the height. It is not entirely a matter of appear-\\nance, though within limits it may be made to please the eye. Gener-\\nally, the lower the seat, the deeper it should be. If the chair seat is", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0053.jp2"}, "54": {"fulltext": "48 CHAIRS. SEATS, SOF^S.\\nhigh, and too deep, the feet of the occupant will not rest on the floor,\\nif he sits back in the chair. Such a chair is uncomfortable, and any\\none using it either sits on the front edge, perhaps tilting the chair\\nforward on the front legs, or uses a foot stool. Either there is no\\nsupport for the back or none for the feet when such a chair is used.\\nA chair that is too low, and shallow in the seat, obliges the occu-\\npant to stretch his legs out in front or he becomes cramped against\\nthe back of the chair so that almost unconsciously he tips it back-\\nwards. Many have tried to devise a rule by which the correct pro-\\nportion between height and depth of seat can be determined, but\\nthus far none seems to suit all conditions. Approximately, the sum\\nof the depth of the seat plus its height is equal to thirty-five inches.\\nChairs for use at a table may be from fifteen to eighteen inches\\ndeep comfortable, upholstered chairs twenty inches deep large,\\nlow, upholstered chairs may be twenty-four inches deep inside meas-\\nurement. The width of the seat, from side to side, may be any size\\ncalled for by the character of the design, except in the case of an arm\\nchair, when it must not be too narrow.\\nArm chairs are necessarily wider than others, in order that there\\nmay be room between the arms for a person to sit easily without feel-\\ning crowded. The space between the arms should not be less than\\ntwenty inches at the front edge of the seat, nor less than eighteen at\\nthe back. The arm ought also to be of such a height, slope, and\\nlength that it will form a convenient rest for the hand and forearm,\\nas well as a side support for the body. Here again arises the condi-\\ntions of the use of the chair; for, if it is to be used at a table the arm\\nought not to project forward in a way to prevent placing the chair\\nas close to the table as is desirable for comfort. For such chairs the\\narm post, that is the upright from the seat supporting the arm, if a\\ncontinuation of the front leg, is curved backiv^ard sufficiently to keep\\nthe scroll of the arm back of, or on a line with, the front edge of the\\nchair seat.\\nThe arm post may, however, not be a part of the front post, but\\nentirely independent. Then, it also receeds that the scroll of the arm\\nmay be kept well away from the front of the chair. Plate VIII. This\\narrangement has the advantage of leaving the front of the seat free\\nfrom obstructions that too closely confine the sitter.\\nArm posts on the front edge of the seat interfere with ladies\\ndresses, and in many of the French chairs the arm posts not only re-\\ncced but curve outward at the same time, thus giving considerable\\nmore freedom for the person and the clothing.", "height": "3902", "width": "2564", "jp2-path": "furnituredesigni01nyea_0054.jp2"}, "55": {"fulltext": "INCLINATION OF BACK. 4^\\nIt is customary to make the width of the seat at the hack a trifle\\nless than at the front, in order to avoid the optical illusion of its ap-\\npearing wider at the back than at the front, as is sometimes the case\\nwhen the sides are parallel. This diflference in width is about two\\nor three inches.\\nHepplewhite gives as the general dimensions of a chair: width in\\nfront 20 inches, depth of seat 17 inches, height of seat frame 17\\ninches, (his chair seats are about 1-2 or i inch above the frame)\\ntotal height 3 feet i inch.The height of a chair back is a matter of de-\\nsign, and it may be proportioned accordingly. It may, or may not,\\nbe inclined to the seat its side posts may be slightly inclined, while\\nthe middle slopes considerably, thus providing a hollow in which the\\nshoulders of the sitter rest comfortably. Modern chairs usually have\\nthe back inclined, though chairs for use in the entrance hall and\\ndining-room are, perhaps, made with the back vertical.\\nThe amount of slope given the back depends on the use to which\\nthe chair is put. An easy chair reclines the most, and just as a low\\nchair is deeper in the seat than a high chair, so, too, may the back\\nslope more on a low seat chair than on a high one. A chair with\\narms may also have a back more inclined than one without.\\nThe appearance of stability is largely influenced by the inclination\\nof the back. So much so, that it is found desirable in most chairs to\\nslope the back legs outwards a little to counteract the apparent ten-\\ndency of the chair to upset. An arbitrary rule is: the slope of the\\nback for a chair without arms should not be more than one fourth\\nthe depth of the seat and chairs with arms not more than one half.\\nThe legs and rails of chairs should appear firm enough to sup-\\nport, not alone the chair, but the person that sits in it. For chairs\\nwith straight legs, whether turned or square in section, the matter of\\nstrength is one of size only. The bandy-leg, however, requires more\\ncare that the curve may not be too great. Rococo work defies the\\nlaws of wood structure, yet it may be properly made so as, in a meas-\\nure, to reconcile the critic to its eccentricity. In describing the\\nrococo table leg (page 14) it was told how to overcome the ap-\\nparent, as well as actual, weakness of this form of support, and what\\nwas said then will apply as well to chair legs.\\nMany chairs are more or less upholstered. It may be the seat\\nonly that is thus treated, or the entire woodwork, except perhaps the\\nlegs, may be hidden by a covering of upholsterer s work.\\nThe simplest methods of upholstering seats are the two padded\\n4", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0055.jp2"}, "56": {"fulltext": "50\\nCHAIRS, SEATS, SOFAS.\\nvarieties in which no springs are used. No. i, Plate XL, shows a\\ncheap way when a hard seat is not objectionable, and it is desir-\\nable that there should be a little elasticity. In the illustration the pad-\\nding is fastened directly to the frame of the seat so when complete it\\nappears the same as an upholstered, spring seat. In some instances\\nthe padding is fastened to a separate, loose frame resting in a re-\\nbate of the seat frame, and if the chair is turned bottom up the seat\\nwill fall out. Such is the way Chippendale and Hepplewhite chairs\\nare often made.\\nThe foundation for the padded seat is webbing stretched as tightly\\nas possible across the frame, front to back, and side to side. The\\nwidths interlace, over and under, each other so as to make a firm\\nplaited mat covering the frame. On top of this a piece of burlap is\\nstretched and tacked all round the edge of the frame. On the burlap\\nis spread suflficient curled hair to make the requisite padding of the\\nseat, and this is held in place by a piece of muslin, or cotton flannel,\\ndrawn tightly over it and tacked to the side of the frame. The web-\\nbing and burlaps are tacked to the upper edge. The seat is now\\nready for any cover that may be chosen, and when at hand the up-\\nholsterer spreads it over the muslin cover and tacks it to the frame.\\nThe tack heads are afterwards covered by a gimp, which is usually\\nglued on, even though nails are afterwards driven in to apparently\\nsecure it. The seat just described is the simplest, as well as the\\ncheapest form of upholstery permissible in good work. It has the\\ndisadvantage of being hard, and in a short time the webbing becomes\\nstretched so the seat sags in the middle.\\nA better seat, requiring a little more work, is shown in No. 2,\\nPlate XI. It differs from No. i only in the amount of hair and the\\nway it is used. As there is more hair than in the first instance, the\\nseat frame is made lower that the extra quality of hair may not\\nraise the seat too high.\\nThe hair is placed on the webbing foundation and covered with\\nburlaps. The edges are then stitched by passing a needle in at the\\nside, out at the top, and then back again to the side, and so forth,\\nuntil the entire edge of the seat has been sewed in this way. When\\nthe edge becomes quite hard and firm with the amount of hair that\\nhas been stitched in it the middle of the seat is also sewed through\\nand through until it is a trifle lower than the edges. This makes a\\nfirm, somewhat hard, hair cushion with its edge a little higher than\\nthe rest. The hollow is then well filled with hair, and over this the", "height": "3902", "width": "2564", "jp2-path": "furnituredesigni01nyea_0056.jp2"}, "57": {"fulltext": "CONSTRUCTION AND UPHOLSTERY OF CHAIRS\\n5LAT m ff^3mm\\nUPHOLSTERY DLOCK\\n/T\\\\", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0057.jp2"}, "58": {"fulltext": "", "height": "3902", "width": "2564", "jp2-path": "furnituredesigni01nyea_0058.jp2"}, "59": {"fulltext": "IPHOLSTERY\\n53\\nmuslin, and finally the cover is drawn. Such a seat has all the ap-\\npearance of one upholstered with springs, and is comfortable enough\\nw liere something firm is wanted.\\nNo. 3 illustrates the spring seat. It differs from No. 2 in this re-\\nspect: the webbing is fastened to the underside of the seat frame, in-\\nstead of the top, and on it are placed the springs. Over them is\\nstitched a burlap on which the hair or stuffing is placed. The re-\\nmainder of the work is the same as for padded seat No. 2. The edge\\nis stitched, hair is added, the muslin is drawn over, and finally the\\ncover.\\nIf it is desirable to make the seat so that none of the woodwork\\nshall show, no difference occurs until the cover is put on, when in-\\nstead of fastening it, as illustrated, just above the lower edge of the\\nframe, it is brought down over the frame and tacked to the under\\nside. In such work cotton wadding is placed between the frame and\\nthe cover that the wood may not be felt, if the hand is in contact with\\nthe lov^^er part of the seat.\\nChair seats that are upholstered have a block of wood notched\\naround the corner post on the inner side, and fastened to the top\\nof the seat frame, where it joins the back. This is the upholstery\\nblock, and is needed by the upholsterer to tack the cover on where\\nit fits around the back post. The upper surface of this block is about\\none-half inch below the level of the finished seat.\\nChair backs may be upholstered in a manner similar to seats, and\\nthe methods are the same. The term over-stuffed pieces is ap-\\nplied to furniture that is upholstered so that none of the framework,\\nexcept the legs, is visible. No. 4, Plate XL illustrates an arm chair\\nof this description, showing the framework and the method of cover-\\ning it. The frame is of hardwood, and is constructed the same as\\nany other chair. The seat frame is set low in order that there may\\nbe plenty of room for large springs, making the seat soft and easy.\\nBeneath the upper rail of tlie arm, and also of the back is a second\\nrail left loose that it may be fastened where desired by the upholsterer.\\nThese rails are used by him for fastening the lower edges of the arm\\nand back covers, which are put on after the seat is upholstered.\\nThe seat frame of overstufifed pieces should be so constructed that\\nthe webbing may be tacked to it at a point not more than eleven inches\\nbelow the level of the top of the springs, if springs of usual dimen-\\nsions are used. It may be less, if desired, for then smaller springs\\ncan be used, or large springs may be tied down. The top of the seat", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0059.jp2"}, "60": {"fulltext": "54\\nCHAIRS, SEATS, SOIiAS.\\nis about two and a half inches above the top of the springs. Soine-\\nlimes the seat frame is very deep, and were the webbing- tacked to\\nits lower edge the springs would be much below the level required.\\nIn such instances either a strip of wood is fastened all round the inside\\nof the frame to which the webbing may be tacked or else an extra\\nloose frame is covered by webbing and set inside the seat frame at the\\nproper level.\\nThe upper edge of the seat frame is usually about halfway between\\nthe level of the webbing and top of the springs. The method of up-\\nholstering the seat and back when springs are used, is the same as\\ndescribed above for No. 3. In the work on the back, however, there\\nwill be noticed on the illustration a portion marked roll. This is\\nmade of hair stitched in burlap to make a firm edge, all round the\\nback frame, possessing elasticity enough not to feel hard when\\nleaned against. Over this the covers are drawn.\\nIn good work the upholsterer carefully covers all edges of the\\nwood with hair stitched in burlap and all flat surfaces with cotton\\nbatting, so that at no point is the wood beneath easily detected by\\nthe touch.\\nOverstuffed pieces do not admit of a great variety of good forms.\\nThere are no end of patterns, or designs, in which an attempt has\\nbeen made to produce something new and good but most of them\\nare unsatisfactory.\\nThe beauty of this class of work is dependent on the absence of\\nfussy, unnecessary trimmings, and on the outline. This outline\\nought to be one that seems the natural result of using upholsterers\\nmaterials, and the simplest best fills this requirement. Upholstery\\nmay be either plain or tufted, and the choice is at times a matter of\\ntaste, but frequently tufting is a constructive necessity. When the\\nseat level is high above the frame tufting of the front edge prevents,\\nto a degree, the sagging of the covering when the chair is occupied\\nand the springs compressed. A border formed by a line of stitching\\nalong the front about half the height of the seat sometimes serves\\nthe same purpose. These methods also prevent the cover from ap-\\npearing too large after the piece has been used awhile and the stuf-\\nfing is matted down. It is also advisable to tuft the seat and back of\\nvery large pieces for the same reason or, as a decorative feature if\\nthe covering material is plain, unfigured goods. The tufting should\\nalways be proportioned to the size of the article. Where the surface\\nto be upholstered is concave tufting is necessary, otherwise the ma-", "height": "3902", "width": "2564", "jp2-path": "furnituredesigni01nyea_0060.jp2"}, "61": {"fulltext": "TUB corfiR. 55\\ntcrial can not readily bo made to follow the curve. The cjrdinary\\nform of tuftinj^: is to sew the goods in at the four corners of a diamond,\\nbut occasionally for concave surfaces it becomes more like a series of\\nrolls side by side and the full length of the hollow.\\nThe material used as a cover for over stuffed pieces largely affect^\\ntheir appearance goods that would be well suited to one chair may\\nnot look right on another. The color is governed by the decora-\\ntions of the room in which the furniture is placed. It need not, per-\\nhaps should not, be the same color as the walls since contrast is de-\\nsirable, but it must be in harmony with the surroundings. The pat-\\ntern of the goods may be of a historic style similar to the design of\\nthe room, though it does not seem necessary to confine oneself too\\nclosely, for in many instances the figure of the goods is entirely lost\\nin the tufting, and a color effect is all that impresses itself on the\\nmind. This is largely true also of pieces without tufting.\\nIt is well to avoid patterns too pronounced in form or out of scale\\nwith the article covered. Then, too, it is not desirable to use de-\\nsigns composed of objects that a person would not care to sit on, as\\nshells, sharp tesellated forms, musical instruments, buildings, land-\\nscapes, etc. The suitable materials are those woven w-ith an all\\nover ornament of a size adapted to the intended use, and treated in\\na flat way without imitating modelling in relief.\\nOver stufifed articles have no woodwork, except the legs, show-\\ning and they sometimes seem too light for the mass above, though\\nreally they may be more than strong enough. If fringe is hung\\nfrom the lower edge of the upholstery to the floor the feet are hidden\\nand the general mass is apparently resting on the floor, the fringe\\nserving to carry the color and lines to that level. The length of the\\nfringe may be about one-half the height of the seat. The best taste\\nadmits of only simple fringes free from small drapings, skirts, or\\nelaborate nettings that soon become dirty and shabl^y. When the\\nsupports of the furniture are sufificiently heavy to suggest no thoughi:\\nof weakness, and there is a frame of show wood below the upholstery\\nno fringe is required.\\nThe rush seat chair is not in common use. as it was a number of\\nyears ago, yet occasionally it is wanted. The frame for such a seat\\nis shallow, not more than an inch and a quarter, and has all its edges\\nrounded. Sometimes the frame is nothing more than turned sticks\\nover which the rushes are twisted and woven into a .^c t entirely cov-\\nering them.", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0061.jp2"}, "62": {"fulltext": "56\\nCHAIRS, SEATS, SOFAS.\\nThe cane seat requires a flat frame usually above the seat frame,\\nthough it may replace it. On the inner edge of this frame holes are\\nbored through which the cane is drawn and stretched across the open-\\ning until a seat is formed.\\nThe sofa is practically an extremely wide chair, and the data given\\nfor chairs may be applied to it.\\nThe following is a table of dimensions of various chairs taken from\\nsatisfactory examples\\nCHAIR DIMENSIONS.\\nArms.\\nSeat. Depth Height\\nWidth.\u00e2\u0080\u0094- Out- Back. v from\\nVarietj\\\\ Height. Front. Back. side. Height. Slope, flocr.\\nBedroom chair. 18 16 13 17 34 21/2\\nBaby s high chair\\\\ 20 14 12 131/2 37 .3 27\\nCheek chair* 17 29 25 271/2 44 41/2\\nChip chair 17 22 17Vi 17 3U\\n18 22 17 17 54 38\\nDining chair 20 24 22 22 45 2V 2(ii/2\\n20 19 17 lU 43 2\\n19 19 17 IS 38% 11/2\\n18 20 15 15 3(j 2\\nEasy chair 17 33 2S \u00e2\u0080\u00a224 43 5 21\\nEasy chair^ 17 27 25 27i^ 41 (ii/i 26\\nHepplewhite chair 18 21% 17 17 34% 2 27\\nParlor chair 16% 24 19% 18% 36 4 25%\\nParlor chair- 14 21 21 *18 21)\\nParlor chair= 18 26% 22% 2(1% 37 4 25\\nParlor chair* 18 20 13 19 36 3 23\\nPiano bench 20 40 15\\nReception chair^ 17 21 19 21 30 2\\nRrcking chair 16 23% 20% 19% 41 2 24\\nRoundabout chair 18 18 18 18 29% 28%\\nRubens chair 20% 17% 17% 15 4(\\nSlipper chair. 12 18 15 17 28 3\\nFoot rest 12 ins. above floor; overstuffed; French cane seat and\\nback; *wood arm and back; upholstered seat.\\n\u00e2\u0099\u00a6Depth inside.\\nSOFA DIMENSIONS.\\nArms.\\nSeat. Depth Height\\n--\u00e2\u0080\u0094Width. Out- Back. frrm\\nVariety. Height. Front. Back. side. Height. Slope, flocr.\\nSmall 18 43 40 21 32% 3 24\\nExtra large 16 78 76 36 29 2 25\\nOrdinary sofa 15 54 51 24 34 5% 24\\nLounge 17 68 68 28 35 2% 29\\n17 57 57 29 23 12 34\\nNote. All dimensions are given in inches. Heights are above the\\nfloor. Slope of back is measured, at seat level, to a perpendicular\\nthrough highest point of the back.", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0062.jp2"}, "63": {"fulltext": "CHAPTER IV.\\nCasework, Panelling, Bedsteads.\\nThe beauty of casework is dependent on: Firstly, its proportion as\\na whole That is whether the height, the width, and the depth are of\\ndimensions that appear well together. In most problems at least\\none of these dimensions is fixed by some requirement of utility. The\\ndesigner is then expected to decide the other two.\\nSecondly, the disposition of the parts (i. e. panels, framing, archi-\\ntectural niembers, such as columns, mouldings, etc.), of which the\\ncase is composed has its influence on the design. Whether the panels\\nare large, or small whether they are arranged in pairs, or grouped\\nin another way; whether the mouldings are heavy or light; etc., are\\nthe questions studied.\\nThirdly: The ornamentation. This is the last point to be consid-\\nered, because if the general form is bad no amount of decoration,\\nwhatever its quality, will make a good piece of furniture. As the\\nsubject of the ornamentation of furniture is treated as a separate\\nchapter (VI) it need not be discussed further here.\\nIn front elevation casework usually approaches more or less the\\nform of a rectangle and the f^rst condition in its design is to find a\\nmethod for determining the ratio of the sides of a rectangle most\\nagreeable to the eye. This has already been studied by several writers\\nwith at least two solutions.\\nOne assumes a square as the starting point and implies that any rec-\\ntangle having two sides equal to the sides of the square will be well\\nproportioned if the other two sides are not more than twice its length.\\nIn other words, a well-formed rectangle is not more than two squares\\nlong. Plate XII.\\nAnother ratio given is that of two to three. Assuming that if the\\nwidth of the rectangle is two, the length should be three. This ratio,\\nof course, is included within the limits of the first method.\\nFor the purposes of designing it may he assumed that the rectan-", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0063.jp2"}, "64": {"fulltext": "58 CASEWORK.\\ngle, whether vertical or horizontal, represents the principle mass of\\nthe case. What is technically known as the body. To this may be\\nadded at the top the crowning members, and at the bottom the base\\non which the whole is supported. To the sides may be added the\\nprojections of mouldings, columns, brackets, or other decorative\\nfeatures.\\nThe relation of the various parts to each other and to the whole\\nshould be kept in mind. Often casework consists of an upper and\\nlower section. The lower part must not only be sufificiendy strong to\\nsupport what is above it, but it ought to appear so without seeming\\nheavier than is necessary. The base or feet should be proportioned\\nto the mass above and the crown members, well supported, are to\\nbe made large enough to serve as a finish for the case without appa-\\nrently crushing it.\\nThe spacing and arranging of the principal lines dividing the case\\ninto panels, drawers, etc., is to be such as will give pleasing results,\\nand there are an infinite number of arrangements possible. The\\nwhole mass may be divided into two equal parts by a post the same\\nsize as one on each corner of the cabinet. No. 3, Plate XII. This\\nsort of a division has the disadvantage of causing the case to appear\\nas if it were made of two smaller ones placed together, and as if the\\ntwo parts were balanced on the middle line. It is not considered the\\nbest way of doing.\\nA similar composition is one in which the case is divided into three\\nparts with the middle one the smallest. This has the faults of the for-\\nmer method though not in such a marked degree. When three di-\\nvisions are made the best appearance is obtained by making the mid-\\ndle one larger than those each side of it. No. 6, Plate XII. Other\\narrangements are also shown on this same plate.\\nAs w^as mentioned above, furniture should be adapted to its use,\\nand if possible its design should indicate the use. The location of an\\narticle in a room has its effect on the appearance. So much so, that if\\npossible the designer should study the surroundings. He is then in\\na position to make a design that will harmonize with the decoration\\nof the room, and an article of a size best suited to the space it will oc-\\ncupy. He can also see how much light will fall on it and be governed\\nsomewhat by this in determining the size of the mouldings, etc. If\\nthe room is well lighted a moulded member if fine and delicate will\\nshow to advantage but in a dark corner larger moulding will be more\\nsuitable.\\ni", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0064.jp2"}, "65": {"fulltext": "", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0065.jp2"}, "66": {"fulltext": "", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0066.jp2"}, "67": {"fulltext": "MOULDINGS. 6l\\nAs casework pieces are usually the larn:cst in the room they are\\nquite prominent, no matter how simple they may be, and care must\\nbe taken not to make their presence obtrusive by over ornamentation.\\nThe decoration used should be appropriate, sparingly applied, and\\nof the highest quality of execution. Casework approaches nearer to\\narchitectural designing than any other furniture draughting. In\\nnearly every article mouldings are used that are identical with those\\nof architecture. They are combined in the same way and their use is\\nfor much the same purpose. There are eight forms from which nearly\\nall others are derived by combination or variation and their names\\nare of importance as serving a means for description.\\nPlate XIV. illustrates these mouldings as follows:\\nThe met is a narrow, flat surface, usually above or below another\\nmoulding, and it may be either a projecting or receding member.\\nWhen below the surrounding surface it is a stink Met.\\nThe bead is a small, half-round moulding either projecting from or\\neven with the surrounding surface. In the latter case there is a nar-\\nrow groove at one side, and it is called a quirked bead.\\nThe cavetto is a hollow moulding, the outline of which does not ex-\\nceed a quarter circle and the ovolo is the reverse of the cavetto that\\nis, a projecting member of which the outline is a segment not exceed-\\ning a quarter. The cavetto and ovolo are not always circular in out-\\nline. Any curve may be employed, but the circular or elliptical form\\nare most common.\\nThe cyma recta, or ogee, has a profile composed of two arcs hol-\\nlow and convex, like a wave, the hollow at the top. The crown mem-\\nber of cornices is often made with this moulding.\\nThe cyma reversa, as its name indicates, is the reverse of the ogee\\nthe convex curve is. at the top and the concave below.\\nThe scotia is a concave moulding with the outline a segment of a\\ncircle often greater than a semi-circle. It is sometimes called a thumb\\nmoulding, and the hollow section is then composed of two tangent\\narcs of different radii.\\nA torus is a large convex moulding usually with a semi-circular\\nprofile. When any of these mouldings are used beneath a horizontal\\nsurface forming an angle with a vertical one it is called a bed mould.\\nLater we will see that mouldings used to hold panels in place are\\nsometimes partly above the surrounding rails. They are then called\\nraised mouldings to distinguish them from flush mouldings which are\\nlevel with the rail. Mouldings ser\\\\ e various practical purposes but", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0067.jp2"}, "68": {"fulltext": "62\\nCASEJrORK.\\ntheir aesthetic effect is to be thought of. They produce much the same\\nresult, when used as a frame, that a Une border does about a drawing.\\nThe effect of hght and shade on a moulding is to produce a series of\\nlines that vary indefinitely, according to the proportions of the mould-\\nings and its parts. A deep undercut moulding gives a heavy dark\\nshadow, a black line and a narrow fiat moulding a light shadow a\\nfine line.\\n^--v.^\\nTKICKnW in(REA^ED.\\nTHlCKriL DIMItllSHtD.\\n[ffect or nouLDincs.\\nThe position of the moulding in relation to the eye may also appar-\\nently increase or diminish its members. If it is placed- above or be-\\nlow the eye so the mouldings ascends or descends, respectively,\\nand recede from the eye the member will diminish in size appearing\\nthinner than it is. On the other hand, if the moulding descends or\\nascends respectively the member will appear thicker than it really is.\\nWhen a moulded member is composed of two or more of the sim-\\nple forms described above it owes its charm somewhat to the intro-\\nduction of a fillet which separates each moulding from that adjoining.\\nAn important combination of mouldings is their use in the crown\\nmembers of cabinets. We have already called attention to having\\nthis proportioned to the size of the body below in addition, it should\\nnot project too much. If its overhang is not greater than its depth it\\nwill usually look well but in many instances it will be found desirable\\nto keep somewhat within this limit.\\nMouldings may be ornamented by carving and when so treated", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0068.jp2"}, "69": {"fulltext": "", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0069.jp2"}, "70": {"fulltext": "CASE CONSTRUCTION\\nPlate Xffl.\\nCCRHKt\\nKBATE, TO RICEIVt SK\\\\\\nor TAP\\nnmi TO mm mk\\nm", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0070.jp2"}, "71": {"fulltext": "CONSTRrCTIO.W\\ncare nuisl bo taken to preserve their j^^eneral form. It is usual on\\narchitectural members to employ the profile of the moulding as the\\nleading line of the ornaments upon it. Thus, the fillet may be dec-\\norated by vertical lines as flutes, fret, or dentils the bead, by pearls,\\nbead and spindle the torus by the guilloche the ovolo, by an egg and\\ndart; and the cymas, by the heart ornament, etc.\\nCases are composed of a top, a bottom, and uprights between which\\nare panels of wood or glass. Plate XIII. shows a section of a cabinet\\nwith the parts separated so as to illustrate how it is constructed.\\nThe column forming the corner post is doweled to the base and cor-\\nnice. The sides and back are panelled and are either doweled or re-\\nbated to the other parts. The bottom and top is composed of a frame\\nJOINTS\\nPLAIM DOVETAIL\\nLAP DOVf_T/l|L\\nMITRED DOVETAIL\\nMORTISE AMD TEMOM\\nDOWEL JOIMT\\nsurrounding a panel. In order to build all parts together use is made\\nof several kinds of joints. Though these are not always shown on\\nthe drawings it is desirable that the draughtman be familiar with them.\\nThey may be arranged in three groups, comprising those commonly\\nused in furniture construction the butt, the angle, and the framing\\njoint.", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0071.jp2"}, "72": {"fulltext": "66 CASEWORK.\\nThe butt-joint is employed when two pieces of wood are joined to-\\ngether in the same plane. The simplest form is when the edges of the\\ntwo pieces are brought together and held by glue, no other connect-\\ning medium being used. This is often sufficient, and when properly\\nmade is quite strong. It is almost invisible in the majority of woods\\nwhen made so the grain is parallel with the line of contact.\\nWhen a stronger method is required, and one side of the pieces\\njoined is hidden from view, blocks are glued across the joint, on the\\nunexposed surface, so as to stiffen it. The grain of these blocks must\\nbe parallel with that of the joined pieces that shrinkage may not\\nloosen, or cause them to crack.\\nAnother way of uniting the edges of two boards is by the tongue\\nand groove. A tongue, or projecting piece, along the middle of the\\nedge of one piece is matched to a groove in the edge of the other.\\nSometimes in place of this, a groove is cut in the edge of each of the\\nboards throughout their entire length. Into these grooves is then\\nglued a hardwood strip, called the tongue or slip-feather, uniting the\\ntwo pieces.\\nThe most popular joint w^ith the cabinet-maker is the dowel-joint.\\nIt is, perhaps, the best where the wood is of sufficient thickness to per-\\nmit its use. A dowel is a wooden pin used for fastening two pieces of\\nwood together by inserting part of its length into one piece, the rest\\nentering a corresponding hole in the other. Sometimes a number of\\ndowels are fitted tightly into holes bored for them in one of the pieces\\nto be joined and the other has corresponding holes bored in it, in\\nwhich the dowels also fit tightly when the two pieces are glued to-\\ngether.\\nAngle joints are frequently mitred. That is the joined edges are\\ncut at a bevel bisecting the angle between them when united. The\\nunion is made by butting the pieces and gluing them together. As\\nthis does not make a strong joint in itself it is stiffened in various\\nways. One method is to drive small bits of corrugated metal in the\\nends of the pieces, and across the joint, thus binding the parts to-\\ngether. At other times corner blocks are glued on the inner side of\\nthe mitred angle.\\nFor rounded corners, or when a mitred angle is not wanted, the\\ntwo pieces may be tongued and grooved together. The tongue is\\non the inner edge of one of the pieces so that as much wood as possi-\\nble is retained outside the groove on the other. The best and strong-\\nest method of joining two pieces at an angle is by dovetailing. When", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0072.jp2"}, "73": {"fulltext": "JOIXTS. 67\\nthe joiiu is made so the full thickness of each piece joined is visible,\\nand the shape of each dovetail can be seen, the joint is a plain dove-\\ntail. The lapped dovetail is constructed so the joint is seen at the\\nside only, and is connnonly used for fastening the sides and front of\\ndrawers together. When it is desirable to have all indications of the\\ndovetailing hidden a combination of the mitre and dovetail is used in\\nwhich the dovetails are cut in part of the thickness of the wood and\\nthe mitre in the remainder. Such a joint is a mitred dovetail.\\nThe usual framing joints used by furniture makers are the dowel-\\njoint, and the mortise and tenon. (See also page 17.)\\nThe true mortise (cavity) is cut near the end of one piece to receive\\nthe tongue (tenon) of the other. The tenon is not always the full\\nwidth of the piece on which it is cut but often is narrower.\\nWhen framing for a series of panels, a groove is sunk the whole\\nlength of two of the framing pieces (those extending horizontally,\\nrailed rails), and those at right angles to them (vertical pieces be-\\ntween the panels, the stiles) have tenons cut on them which fit in the\\ngrooves. These grooves also receive the panels. This method avoids\\ncutting a mortise for each tenon and the name given to the joint is\\nstub-tenon.\\nWhen two pieces are joined by cutting away half the thickness of\\neach, and then lapping them together they are said to be halved.\\nSuch a joint is sometimes combined with a mitre so that where ex-\\nposed to view it appears like any mitred joint. It is then said to be\\nhalved-mitred.\\nBroad surfaces of casework are panelled partially as a means of\\ndecoration but principally for constructive reasons. If the surface\\nwere made from a solid board it would soon crack and warp as the\\nwood became dryer. It might be built up and veneered as has been\\ndescribed for table tops (page 18), and this is occasionally done, but\\nas panelling gives a change of plane with a chance for light and shade\\nit is more commonly used.\\nThe panels are, however, veneered and cross-veneered on both\\nsides of a core whenever perfect workmanship is wanted.\\nPanels are surrounded by a frame which may be grooved to receive\\nthem, but a better way is to rebate the frame and hold the panels in\\nby mouldings. Three ways of doing this are shown on plate XIV.\\nIn the joiner s method either a groove is worked in the styles of the\\nsurrounding frame to hold the panel, and then the moulding is placed\\nin the angle against the panel or, a rebate is cut in which both panel\\nand moulding are set.", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0073.jp2"}, "74": {"fulltext": "68 CASEWORK.\\nIn either case, if the moulding is nailed in. the nail will probably\\nbe driven directly in the panel or else diagonally through both the\\nedge of the panel and rail. In the first instance any shrinkage of the\\npanel causes a crack to appear between the frame and the moulding.\\nTo avoid this a rebate can be cut in the moulding, when it is large\\nenough to permit, so it will lap over on the frame a little and hide the\\njoint.\\nBut here although (see illustration) the nail holds the moulding\\nclose against the frame, it also catches the edge of the panel and pre-\\nvents it moving. The result is that cracks appear in the panel itself.\\nIt does not improve matters much if the moulding is glued in for\\nthe glue almost always binds both moulding and panel to the frame\\nso that a rupture will occur somewhere.\\nThe cabinet-maker avoids these difificulties. First, he cuts a rebate\\nin the frame on the finish side. In this the moulding is glued solidly\\nso it becomes a part of the frame itself. When the glue is dry the\\nvarnished panel is set in from the back and held in place by plain\\nmouldings nailed to the frame. This leaves the panel loose and free\\nto move should shrinkage take place. The object in varnishing the\\npanel before setting it is that if any movement does occur it will not\\nbe seen by the exposure of a line of unfinished wood.\\nFlush panels are so named because their surface is level with the\\nsurrounding frame. They are set in a rebate from the back and se-\\ncured by a nailed moulding. In most cases a bead is run all round\\nthe edge of the panel so as to hide the joint between it and the frame.\\nSuch panels are used for the back of cases and in places where no\\ndecorative effect is wanted.\\nPanels may have the edges beveled or rebated below their sur-\\nface, so as to produce a sort of border around the panel itself. Such\\npanels are sometimes spoken of as raised panels to distinguish them\\nfrom a flat, even surface.\\nThe surface of a panel is made of more carefully selected wood than\\nthat used for mouldings, and rails, with the intention of having a\\nhandsome grain. Veneers are chosen that have been cut from a por-\\ntion of a log furnishing strong markings, or figures, when polished,\\nand these are sometimes cut in smaller pieces either half or quarter\\nthe size of the panel, and placed together so the lines of the grain will\\nform a pattern or a picture. At other times a design is inlaid on\\nthe panel, or it is carved. The simplest form of carved panel is that\\nwith the surface moulded to resemble, more or less, the folds of drap-\\nery, and called linen, or parchment panels.", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0074.jp2"}, "75": {"fulltext": "MOULDINGS AND PANELS\\nFuTt XIV.\\nir\\nUJ\\nriLLET. BEAD. CAVETTO. OVOLO. CYMA RECTA AMD WVtRSA. SCOiiA. T0RU5.\\nOQtE.\\nCLA53IC nOULDmQ5\\n,.,-Y^\u00e2\u0080\u0094\\n-^:^1\\nJ\\nl^^f^\\nFLUSH PAME-L. JOIMER^ tltTHop, CABINET MAKERS MtTHOJ*\\nMtTH0D3 Of SnilNG PAhEb\\nub Crb\\n.ImMI\\nDEVELLED PANEL INLAYfP. PAHCHHENT PAMEL. CARVED PANEL\\ntreatheut ofthepamelsukface\\nro^n or panels\\nQLAS5 FULL SIZE\\nA^ A PAtlEL\\nQLAiS ON BL0CK5 MIRKORS DtVELltO GLA\u00c2\u00ab.\\nfRAniriG GLA53", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0075.jp2"}, "76": {"fulltext": "", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0076.jp2"}, "77": {"fulltext": "CL.IZIXC. 71\\nr arraiii^int;- the nK)iiI(linL;s around llal panels so as to produce\\nforms with a broken outline the stift* rectangular panel is avoided.\\nThree varieties are shown on Plate Xi\\\\\\nHookcases, china cabinets, and others of the same class of case\\nwork have portions of their sides .c^Iazed either with clear fijlass or\\nmirrors.\\nIn the best of glazed work plate glass is used, ])ut where something\\nless expensive is wanted the best quality of (hnijjle thick sheet glass\\nis used. Anything poorer than this should not be jjlaced in good\\nwork. Mirrors should always be of plate glass. Glass set in doors or\\nsubstituted for panel work is cut the full size of the rebate opening\\nin the frame and is held in place by a loose moulding the same as a\\npanel. Plate XIV. It is only when some special condition requires\\nit that the glass is secured in place by putty and glaziers points in-\\nstead of the loose moulding.\\nMirrors are not often cut to the full size, Init arc a trifle smaller\\nthan the rebate measure and the glass is held in place by a number of\\ntriangular blocks about three inches long placed at intervals in the\\nrebate. These blocks serve to wedge the glass securely in place that\\nit may not slide in the rebate, and they also reduce to a minimum the\\nsurface of wood in contact with the coating on the back of the mirror.\\nThe silvering is protected from injury by a panelled back board\\nscrewed to the frame after the glass is fastened in. This backboard\\nmust not touch the mirror at any point.\\nThe glass is held in front by a moulding set in a rebate, as we\\nhave described for panelling.\\nDoors are composed of a framework enclosing panels. The up-\\nrights of the frame are the stiles and the horizontal parts are the rails.\\nThey are hung either with hinges or pivots. The former are more or\\nless visible, but the latter are concealed. Plate XV. illustrates various\\napplications of these methods, No. i shows the door hung with butts\\nand without a rebate for the door to shut against. Such a door would\\nbe used in cabinets where the uninterrupted joint between the edge of\\nthe door and the side of the case is not objectionable. Notice also\\nthat unless the door can swing through an arc of 180\u00c2\u00b0 the width of the\\nopening is reduced by about the thickness of the door or A in the\\nillustration. In most instances a rebate to receive the door is desir-\\nable and still the door hung wath butts would reduce the size of the\\nopening as at A, No. 2, unless the re1)ate is as deep as the door is\\nthick. No. 3.", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0077.jp2"}, "78": {"fulltext": "yz CASEWORK.\\nDoors for cabinels having drawers within are hung this latter way,\\nas it enables one to pull out the drawer though the door is open at the\\nright angle only. No. 4 shows how a door may be hung when the\\ndesign calls for a pilaster on the corner of the case and yet the condi-\\ntions require that a maximum width be given to the interior. An ar-\\nticle having the door hung in this manner must stand sufficiently\\naway from the wall or other pieces of furniture to permit the pilaster\\nto turn on the axis of the hinge.\\nPill OP. CEMTKL\\nHlhOL\\nThe pivot, pin, or center hinge is invisil)le and in high-class work\\nthis is an advantage. It is also strong, and is screwed to the upper\\nedge of the top rail, and the lower edge of the bottom rail of the door\\nin a position such that a strain does not start the screws. The illus-\\ntration shows what it is like. There are two bars of metal narrow\\nenough to be entirely concealed by the thickness of the door. In one\\nof these bars is a hole receiving a pin, on the other bar. One of the\\nbars, that with the socket, is set in the frame receiving the door, the\\nother is oh the door itself, and when complete the door turns on the\\npin as an axis.\\nIt is well to set the pivot on a line through the middli of the thick-\\nness of the door; and about half the thickness of the door, plus an\\neighth of an inch, away from the post against which the door turns.\\nThat is, C B -J inch. No. 5 shows a pivoted door in a position\\nwhere it reduces the width of the door opening, and No. 6 shows the\\npivoted edge of the door turning in a hollow prepared for it and\\nprovided with stops against which the edge of the door strikes cither\\nwhen open or shut.\\nThe thickness of door rails is dependent entirely on the size and\\ndesign of the door but the bottom rail is made a little wider than the\\ntop rail and side stiles which are of the same width.\\nThe meeting stiles of a pair of doors are sometimes rebated, so the\\njoint does not extend Straight throug-h.", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0078.jp2"}, "79": {"fulltext": "HANGING DOORS AND LIDS\\nL\\naH\\nPlate XV.\\nJ\\nZSI\\nS\\n\u00e2\u0096\u00a0AH Y", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0079.jp2"}, "80": {"fulltext": "", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0080.jp2"}, "81": {"fulltext": "siinixc /)()()A .v,\\nSliding (!(Hir,- may he provided willi rollers at the bottom, or the\\nta\\\\\\\\ or tJKv may slide in a ^rt)ove without aids for reducing- friction.\\nSlidiii!^ duois arc ot len in ])airs and then it is necessary to arran.tje\\nth.-; tliev close liLluK a; the nrjctim^- stiles whicli overlap a little.\\nl^tLTING 5T1U5 OF HiriQtD DOORO.\\n%;;#:^/..;....wa^v.x.xv^^^^^^^\\n1\\npM^m^^^^;\\n[J[[Tin(i STILLS. Of XlDlttQ 000^3.\\nThere is more or less space between the doors, due to the thickness\\nof a parting strip, at the bottom and top, forming the groove in\\nwhich the door slides. To close this space a thin strip sufficiently\\nwide to extend across it is fastened to the back edge of each door.\\nWhen the doors are closed these two strips are in contact and lap\\nover each other.\\nDesk lids mav be considered as doors hung by the bottom rail, but", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0081.jp2"}, "82": {"fulltext": "76\\nCASEllVRK.\\nthey seldom open wider than an angle approximately 90 and the\\nmethod of hinging is dependent on the way the lid is supported.\\nWhen ordinary butts are used it is necessary to have slides that\\npull out beneath the lid for it to rest on, or else metal elbow-pieces,\\nchains, or quadrants are fastened above. Otherwise the weight of a\\nperson s arms on the lid wdien it is dow^n wall break the hinges.\\nIllustration No. 7, Plate XV., represents a section of a lid hung in\\nthis way and No. 8 is a method without slides or quadrants that may\\nbe used for lids of cabinets where no great weight is to come on them\\nand butts are used. Here the hinge is not directly on the edge of the\\nlid, but is set a little beyond it, the lid and hanging stile having been\\ncut on a bevel to permit the lid swinging down to the horizontal. A\\nportion of the case (X) just below the lid is also arranged so the lid\\nwhen down will rest on it.\\nThe strongest lid hinge is the pivot No. 9, Plate X\\\\ The lid\\nwhen down presses against Y and Z. and the hinge itself is con-\\n-tructed so as to take jiart oi the strain.\\nECRtTAR^ HlhGE..\\nIt is practically the same as the pin hinge described alcove. The\\npart serving as a socket for the pin is. however, shaped somewhat like\\na rectangle with a small projecting square on one side near one cor-\\nner. The other corner of the side from which this square projects is\\nrounded ofT as a quadrant with the socket for a center. The pin bar\\nis also extended sufficiently to receive a second pin located so that it\\njust clears the edge of the quadrant, when the two parts of the hinge\\nare placed together, and will strike against the projecting piece of the\\nsocket plate.\\nIf now the socket plate is properly fastened to the side of the cab-\\ninet the parts of the hinge are in the position shown in the illustration,\\nwhen the lid is turned down. The second pin of the bar strikes against\\nthe projection on the socket plate, and acts as a stop. This brings\\nthe greater strain on the metal of the hinge itself. The location of the\\n]jivot on the edge of the stiles is such that the screws are not pulled\\nout if an extra strain is put on them. As in every drop lid. there is", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0082.jp2"}, "83": {"fulltext": "DESK LIDS. yy\\nmore or kss levtrat;c ihcir will be sonic spring when wciglil is ap-\\nplied to it. It is. therciorc. a(lvisal)le to use aids for snpport cither\\nquadrants or braces.\\nThe lid for small compartments of desks, or the desk lid itself may\\nbe hung- so as to raise and then slide back out of the way. A section\\nof a lid of this kind is given in No. lO, Plate XV. The dotted line\\nshows the position of the lid raised and ready to be pushed back into\\nthe pocket. When the lid is down the upper edge strikes against the\\nback of a moulding so as to hide entirely the pocket into which it\\nslides when raised. The hinge is on the lower edge of a rebate cut in\\nthe lid. This rebate matches a similar one cut in a strip fitted so as to\\nslide easily in the pocket, yet provided with stops to prevent its be-\\ning pulled out. When the lid is raised this guide and the lid halve\\ntogether so as to become practically one piece.\\nThe cylinder top desk is made so the lid will slide back into a\\npocket, the edges of the lid moving in grooves cut in the sides of the\\ndesk. When the desk is small a lid working in this way does not\\nslide back sufficiently to expose a convenient writing surface. The\\ndifficulty is overcome by making the writing surface so it may be\\nf)ulled out about two-thirds the depth of the desk, and the pigeon\\nholes with the inkstand, etc., may be placed immediately above at\\nthe back of the desk. This arrangement makes quite a roomy writ-\\ning table of one that would otherwise be small. It is convenient to\\nconstruct such desks so one operation will pull out the slide, and\\nopen the lid instead of requiring each movement to take place sep-\\narately.\\nThere are many ways of doing this and the one illustrated (No. ii,\\nPlate XV.) is by Sheraton. A metal bar is pivoted to the edge of the\\nlid near the back, and it is similarly attached to the slide. This bar\\nhas a slot cut at the lower end in which the pivot on the slide may\\nmove, and another slot near the middle in which moves a pivoted\\nguide attached to the side of the desk. This latter pivot is the cen-\\ntral point about which turns the bar connecting the slide and lid, so\\nwhen either is moved the other moves also. There are two of these\\nconnecting bars one at each end of the desk.\\nShelving in cabinets, and bookcases are made so as to be adjustable\\nto any heights. Sometimes they are supported by four pins, one at\\neach corner of the shelf, placed in holes bored in the sides of the case.\\nThese holes are one inch or more apart and by changing the location\\nof the pins the shelf is adjusted.", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0083.jp2"}, "84": {"fulltext": "78\\nCASEWORK.\\nAt other times four vertical notched strips are fastened to the ends\\nof the case, two at each side, and in the notches cleats are placed on\\nwhich the shelves rest. By shifting the cleats the shelves are placed\\nas desired.\\nThe following is a table of dimensions taken from existing exam-\\nples of case work:\\nDIMENSIONS OF CASEWORK.\\nBody.\\nVariety. Width. Depth. Height. Remarks.\\nBureau 45 20% 36i^\\n51 23 37%\\n48 22 3(5%\\n54 20 42\\nBookkeepers desk 60 33 42\\n(iO 32 44 Deck 11 ins., slope 22.\\nChiffonnier 39 20 4S\\n3(i 20 51\\nCheval glass 25 65\\nCommode 1 16 31\\nSideboard 84 32 30\\nWardrobe 36 19 69\\n54 24 96\\nNote: .All dimensions are in inches.\\nBedsteads.\\nBedsteads have a head board, a foot board, and two side rails. The\\nhead and foot board are often panelled, and sometimes the side rails\\nalso. In the old style bedstead there were four posts. These were\\njoined together in pairs by a rail above which was a second rail more\\nor less elaborately decorated by sawing, carving, turning or panelling,\\nthus making the head and foot boards according to the position they\\noccupied when united by two rails that formed the sides of the bed-\\nstead.\\nThe side rails, with the lower ones of the head and foot board\\nformed the frame across which cords were stretched to support the\\nmattress. In the modern bedsteads the arrangement is much the same\\nexcept that in many of them the post is reduced to its lowest terms\\nand exists only as the stile for the panel work of which the head and\\nfoot board is composed.\\nThe side rails are made much wider than in olden times, that they\\nmay hide the box spring which has taken the place of the cording,\\nand they are constructed so they may be removed and replaced as de-\\nsired. There are many contrivances for accomplishing this, each\\nmanufacturer having his preference..", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0084.jp2"}, "85": {"fulltext": "BEDSTEADS.\\n79\\nA strong and substantial way is shown in the illustration.\\nThe ends of the rails are provided with tenons, that fit mortises in\\nthe posts of head and foot board, and with screws that work in nuts\\nsunk in the posts. These screws fasten the rails and end boards se-\\ncurely together while the tenons stiffen the joint, preventing any\\ntwisting of the sides.\\nOn the lower edge of the side rails, inside, is a ledge to support the\\nspring. The box spring is sometimes supported on slats, and some-\\ntimes on the side rail of the bedstead, a cleat having been placed on\\nit so as to rest on the ledge of the rails.\\nThe mattress is placed on the springs. In designing a bedstead it\\nought to be constructed so the top of the mattress will not be much\\nover twenty-five inches above the floor.\\nBed slats are about an inch thick, a double box spring about ten\\ninches thick, and a good mattress seven inches thick.\\nTo keep within the limit of height, then, the upper edge of the sup-\\nport for the slats should not be more than seven inches from the\\nfloor. But slats are sometimes omitted and then the side rails may be\\nset higher as the springs can hang a little below them without being\\nseen.", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0085.jp2"}, "86": {"fulltext": "8o CASEWORK.\\nThe following is a table of measurements of bedsteads:\\nDIMENSIONS OF BEDSTEADS.\\nI Inside.\\nVariety. Length. Widtli.\\nSingle 78 42\\n78 42\\nDouble bed 78 SSVa\\n78 56\\nNcte: All dimensions are in inches.\\nWidth. Height.\\nr-Height.--^\\nSide Bottom\\nFoot. Head.\\nRail. Side Rail.\\n40 62\\n9y2 9%\\n41 60\\n10 10\\n42 63\\n11 10%\\n36 67\\n13 9y2", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0086.jp2"}, "87": {"fulltext": "CHAP JKR\\nThe Drawer. Plate XVI.\\nNearly every article of furniture may l)e provided with a drawer\\nand the ease with which it slides, and its accuracy of fitting are tests\\nof good workmanship. To have a wide, deep drawer slide so easily\\nthat the pressure of a finger placed against the front at one end is\\nsufficient to move it, means careful adjustment, skilled labor, and the\\nbest materials.\\nThe drawer is composed of a front, back, two sides and a bottom.\\nThe front is the only part visible when the drawer is closed, and upon\\nits treatment depends the decorative value of the drawer. It may be\\nconsidered as a panel surrounded by mouldings or it may be left\\nplain, depending on the hardware for its ornamentation.\\nIf the front is on the same plane as the surrounding surfaces of the\\ncase the line of the joint about the drawer is too clearly defined. It\\nis better to hide this joint by allowing the drawer to slide in a six-\\nteenth of an inch beyond the face of the framework, or to place a bead\\nall round the edge of the drawer.\\nSometimes the front of the drawer has its edge rebated so that in-\\nstead of sliding into the pocket beyond the surface of the case it pro-\\njects beyond, and the lip of the rebate covers the joint around the\\ndrawer. The sides of the drawer are dovetailed to the front and the\\nbottom is either grooved directly in the sides or in strips glued to\\nthem. This latter method is used when the sides are too thin for\\ngrooving. The full thickness of the bottom is not grooved into the\\nfront and sides, but its edge is reduced in thickness by bevelling, or\\nrebating, thus permitting the bottom to be placed low without making\\nthe portion of the sides below the groove too thin.\\nThe space between the lower edge of the drawer front and the\\nbottom at its thickest part is about one-eighth inch. Hence the in-\\nterior depth of a drawer is the depth of the front minus the thickness\\nof the bottom plus one-eighth inch. The average drawer having a", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0087.jp2"}, "88": {"fulltext": "82 THE DRAWER.\\nbottom of half an inch would, therefore, have an interior depth five-\\neighths of an inch less than it appears on the front. Wide drawers,\\nlike those extending the full width of a bureau, sometimes have the\\nbottom divided through the middle, from front to back, by a rail or\\nmuntin. This prevents the bottom from bending beneath the weight\\nplaced on it and also decreases the tendency to warp. The bottom\\nshould be long enough to extend beyond the back piece. It is also\\ngrooved into the front, where it is fastened, but it ought not to be\\nsecured elsewhere. This method of construction admits of the\\nbottom shrinking, but as it is fastened on the front only and fi-ee to\\nmove elsf where it will not crack, and the extra length beyond the\\nback prevents an opening appearing at that end.\\nThe back may be grooved or dovetailed in the sides. The dimen-\\nsions of the different parts are dependent on the size of the drawer.\\nFor ordinary work the front is seldom more than seven-eighths inch\\nthick and the sides, bottom and back more than one-half inch.\\nIn casework the drawer slides in a pocket, and often there are\\nseveral drawers, one above the other. When enclosed the drawer\\nslides on a supporting frame, the front rail of which is called the\\nbearer, and the side rails runners. Close against the sides\\nand supported by the runners are narrow strips of wood that serve to\\nkeep the drawer in place these are the guides.\\nSometimes the frame between the drawers is open, and if one of\\nthe series is removed that beneath may be emptied by reaching\\nthrough the opening above. In better work the frame is filled with\\na panel, called a dust panel, that prevents this.\\nThe drawer is not always enclosed. Sometimes it is hung beneath\\na table top and exposed to view. When used in this way cleats are\\nfastened to the outer surface of the sides and slide in grooved pieces\\nscrewed to the underside of the table top. If the cleats set close to\\nthe upper edge of the sides of the drawer they increase the thickness\\nof this edge which is in contact with the under surface of the table\\ntop. As this surface may not be true the drawer will not work\\nsmoothly unless hung loosely.\\nA better arrangement is the one illustrated with the cleat set a little\\nbelow the edge of the drawer, and fitted smoothly in the grooved\\nbearer. The edge of the drawer may then be set so as not to rub\\nagainst the top of the table, and yet the drawer is held secure by the\\ncleats sliding in the grooved supports. Sometimes the groove is in\\nthe side of the drawer, and the bearer is provided with a tongue that\\nfits it. reversing the method just described.", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0088.jp2"}, "89": {"fulltext": "fLA-^XVI.\\nTHE DRAWER\\nX ,r fl^oNT\\nr ^^-^X-^^X\\nCwNHEIt\\n3ECT|0f1 THROUGH FRONT.\\n\u00e2\u0080\u00a2SECTION THROUGH BACK AND SlDC", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0089.jp2"}, "90": {"fulltext": "", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0090.jp2"}, "91": {"fulltext": "DRAWER WITH SLIDES. 85\\nWhen it is desirable to place a drawer in a piece of furniture having\\na triangular plan, as for instance a corner cabinet, the guides at the\\nside are useless, as the drawer does not come in contact with them\\nexcept when pushed in. As soon as the drawer is pulled out ever so\\nlittle it no longer fills the width of the pocket. If it is necessary to\\nslide a drawer of this shape a rail is placed in the middle of the bottom\\nthe length of the drawer from front to back. The underside of this\\nrail is grooved over a tongued strip immediately beneath it, that\\nserves as a guide to keep the drawer in the middle of the pocket.\\nSuch an arrangement is not always feasible, and then the triangular\\ndrawer is pivoted at the front edge, so instead of sliding it swings out\\nof the pocket.\\nFor music cabinets, library cases, etc., the use of the drawer may\\nmake it necessary to pull it out sui^ciently that the entire length can\\nbe seen. A drawer constructed in the usual way would, if pulled out\\nso far, fall to the floor as soon as the hand left it. A drawer is made,\\nhowever, with slides at the sides that support it when out its full\\nlength. The illustration shows such a method. The side of the\\ndrawer is about twice as thick as ordinarily, and the lower portion is\\nrebated about half its depth and thickness. In this rebate a slide is\\nfitted, exactly filling it. The rear end of the slide is increased in width\\nto the full depth of the drawer. When the drawer is closed the slide\\nand the side of the drawer are practically one when the drawer is\\n])ulled out to a fixed point the slide catches against a stop and does\\nnot move any further, but the drawer then moves along the slide until\\nit is nearly, or entirely, out of the pocket, when it is stopped by a pin\\nmoving in a groove in the side of the slide. The drawer is then resting\\nentirely on the slides, which are sufificiently far in the pocket to carry\\nthe weight, and the widened portion at the rear end of them filling the\\nspace between the runners, prevents upsetting.\\nWhen a pair of doors closes against a case of drawers another\\nsystem may be used in place of the above. The doors can be hung so\\nas to open to a position in the plane of the sides of the cabinet and\\nheld there by stops. Their inner surface may also be provided with\\nrunners on which the drawer can slide when it is pulled out beyond\\nthe pocket.", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0091.jp2"}, "92": {"fulltext": "CHAPTER VI.\\nOrnamentation of Furniture,\\nIN addition to the general outline and proportion of furniture, its\\nappearance is dependent upon ornamentation. This should not,\\nhowever, become so important as to destroy the constructive elements\\nor the utility. A properly designed article may be quite as pleasing\\nwhen entirely devoid of ornament as when its surfaces are covered by\\nenrichments of some sort.\\nIn many instances what is termed ornament is but a roughening or\\ncoloring of the surface in hopes to divert the attention from bad forms\\nor poor construction. It is understood that woodwork free from sur-\\nface ornament must be well made, the wood carefully selected, and\\ncare taken to use together pieces of the same color and figure of grain.\\nThe joints unless properly made become conspicuous, exposing the\\npoor workmanship. The finish, that is the varnishing and rubbing,\\nmust be well done that the wood may not appear to be covered by a\\ncandied surface full of lumps and streaks. Work well made and\\nfinished feels to the hand almost as soft and smooth as silk velvet,\\nwhile to the eye the grain of the wood shows clear and sparkling be-\\nneath the thin well-rubbed film of varnish which fills the pores yet\\nscarcely more than covers the surface. In such work the beauty is\\ndependent upon pleasing outlines, good proportions and workman-\\nship. The smallest details, like softening the angle, rounding a\\ncorner, etc., require attention because of their influence on the appear-\\nance of the whole.\\nThere are times when it is desirable to do more than fill the de-\\nmands of service, and additional expense may be incurred by en-\\nriching the simple form with decoration.\\nThere are several methods of doing this. Perhaps the most diffi-\\ncult to do well, and yet the most common, is carving. It can be used\\nas a surface ornament, treated as a panel, either cut below the surface\\nof the wood or in relief. The constructive parts, as posts, rails,", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0092.jp2"}, "93": {"fulltext": "C.lh l IXC. S;\\nmouklings, etc., may lie also in oniamental forms. In the iirst in-\\nstance, panel work, the problem is one of designins: an ornament to\\nproperly fill the space, keeping in mind the effect of light and shade.\\nThe pattern is in relief of varying planes, and the different parts must\\nbe of a size that will be in keeping with the space filled as will as ihc\\nentire article.\\nThe ornament may closely fill the whole space or be loosely scat-\\ntered over the surface, but in either instance it should seem to belong\\nwhere it is, and not as if it might be placed elsewhere or was lloatim;\\nabout in a space much too large for it.\\nIn some kinds of furniture may be seen small ornaments in high\\nrelief cut from a block glued in the middle of a plain surface many\\ntimes the length and width of the ornament. Such carving appears\\nas if stuck on, even if it is well executed, for it is wrongly placed and\\ninadequate to the space it occupies. It is not because it is glued n\\nthat makes it uninteresting, as might be supposed, but because it i^\\nbadly designed. Had the surface of the solid wood been cir away\\nto leave carving of the same design in relief a similar feeling of its\\nhaving been applied would exist. Nevertheless the practice of gluing\\nen carving should be discouraged.\\nWhen the constructive parts are carved care should be taken to\\ndesign the ornament so the contour of the part is not destroyed. In-\\nstead of detracting from the form it ought to enforce it. This may he\\naccomplished by keeping the principal masses of the ornament \\\\vell\\nwithin the boundary lines of the part decorated and by making tl. c\\nornamental growths follow the direction of the structural lines.\\nIf the carving is on the surface of a chair back where it may be\\nleaned against it should not be of such a high relief as to be disagree-\\nable or so sharp as to be dangerous to the clothing. Tlie illustration\\ngiven (frontispiece) here is an example of over ornamentation and ex-\\nquisite carving misplaced. It is a chair with the arm post finely and\\nskilfully carved, but so delicate in its detail as to be almost too frail\\nfor practical use. And so rough and sharp are the angles that should\\na delicate dress be pulled across it it would probably be torn.\\nPlain surfaces have quite as much value as those that are orna-\\nmented, and by bringing them in conjunction so as to secure a con-\\ntrast the best results are obtained.\\nIt has been mentioned in a previous chapter (page lo) that the\\nwood used for the construction has an influence on the design. This\\nis especially true of carved ornament. Although it may be possible", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0093.jp2"}, "94": {"fulltext": "88 ORNAMEN TA T10N.\u00c2\u00bb\\nto do delicate carving in the coarse-grained woods it is certainly not\\ngood taste to do so. In the close-grained woods, like satinwood,\\nmahogany and maple, we expect to see delicate and fine work, while\\nin oak, ash and walnut we at once look for a dififerent sort of thing.\\nCarved surfaces with the background cut entirely through, that is\\nperforated, are serviceable forms of ornamentation for chairs, tables,\\nand occasionally for case work.\\nWhat has been said relative to surface carving is applicable to this\\nstyle of work. The design ought to be of a kind in which the spaces\\nand the solids balance each other properly, and no portion should be\\ncut around so as to leave it joined to the rest of the work at one\\npoint only. Aside from the poor appearance of such a form it is weak\\nin construction and likely to split off.\\nPlate XVII. illustrates perforated carving in use on chair backs\\nand shows how the parts are joined. It will be noticed that the per-\\nforated ornament is confined to the slat in the middle of the back,\\none-half of which is drawn as it appears when finished, while the other\\nhalf is only blocked out ready for ornament.\\nThis is quite clear in the shield back design, where the middle slat\\nis simple in form. The other chair has a more elaborate slat and its\\ncharacter as such is almost hidden by the form of the ornament. It\\nshould be noticed in designing a back of this sort that the general out-\\nlines are first determined, keeping in mind the constructive prin-\\nciples. In the chair illustrated the outline of the back is drawn first,\\nnext the ellipses composing the slat, and finally the carving. This\\nlatter follows carefully the lines of the composition so as not to de-\\nstroy the original forms. The acanthus on the sides of the center\\nellipse lap close about it, and as the opening in the middle of this\\nellipse was too large for practical purposes or appearance, the group\\nof husk ornaments was placed in the middle.\\nWhere the top of the slat, in the form of a horizontal ellipse, joins\\nthe top rail of the back a dowel i placed. The thickness of the ma-\\nterial included in the outlines of the ellipse is hardly sufficient to make\\na strong joint, and to have increased the thickness at this point only\\nwould have destroyed the appearance of the design unless some way\\nhad been taken to prevent it.\\nThis was done by turning a scroll at the point where the dowel oc-\\ncurs and filling in between the scroll and top rail with a small acan-\\nthus. This gives the increased material without injuring the ap-\\npearance, and is a rational method of using carved ornament.", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0094.jp2"}, "95": {"fulltext": "", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0095.jp2"}, "96": {"fulltext": "", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0096.jp2"}, "97": {"fulltext": "", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0097.jp2"}, "98": {"fulltext": "", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0098.jp2"}, "99": {"fulltext": "", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0099.jp2"}, "100": {"fulltext": "", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0100.jp2"}, "101": {"fulltext": "Mi:r.ii. .u i iKjrii. 91\\n.\\\\])i)li(|uc of metal work is a furni of relief ornamentation in many\\nropects closely related to carving-. It may be either cast or wroug-ht.\\nCastings, called ormolu, are usually of brass plated with gold and\\nfmislud a dull color. They are especially used in the styles of Louis\\nXW, Louis X\\\\ l. and Empire. Jn the Louis XV. style much of the\\nornament is applied in places where carving might have been used,\\nand it is properly joined with the lines of the article so as to become a\\npart of them. In the Louis XVL to some degree, and in the Empire\\nstyle almost entirely, the applique ornaments are fastened directly on\\na plain surface without any relation to the construction whatever, as\\nthe article is complete without them. The beauty of their use depends\\non the arrangement of the pieces in relation to each other, the way\\nthey fill the space which they occupy, and on the design and execu-\\ntion of the metal work itself. Much of the metal work in ordinary\\nuse is poor in both respects. Perhaps the design is good and the\\npattern was well modelled, but so many copies have been made, each\\ncast from a previous moulding instead of from the original pattern,\\nthat all form and crispness is lost. Such work is neither handsome\\nor decorative, and the designer should discourage its use whenever\\nhe can. In the best French examples applique metal work is care-\\nfully cast, exquisitely chased, so it becomes a beautiful piece of work-\\nmanship, and it may be admired as such even though its use is not\\napproved. When wrought metal work is applied to furniture it is\\nusually in the form of hinge plates, lock plates, or ornamented straps\\nbinding parts of the woodwork together. Furniture decorated in this\\nway is best made of a coarse-grained wood and designed with large\\nflat surfaces on which the metal may be applied for ornamental clTect.\\nGood results are obtained by sinking the metal work so it is level with\\nthe wood surface, particularly when in the form of rosettes.\\nThe markings of the grain of woods used for furniture is in itself\\nan ornamentation, and many times it is quite sufficient. But to in-\\ncrease its decorative effects veneers cut in various ways are used. A\\nveneer is a thin slice of wood, and in the choice woods of the furni-\\nture maker many pieces with rich figures in the grain can be had as\\nveneers that otherwise could not be obtained in shape to use. Then,\\nalso, by cutting a log in different ways the beauty of the grain is ex-\\nposed so that its value is increased.\\nThe veneers are not always used entire like so many boards. They\\nare sometimes cut in geometrical patterns varying in size, and the\\npieces placed side by side in such a manner that the grain of adjoining", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0101.jp2"}, "102": {"fulltext": "92\\nORNAMENT ATIOi^.\\npieces runs in different directions, thus covering the surface with an\\nalmost inconspicuous diaper pattern.\\nIn this method of using veneers but one kind of wood is required,\\nthough at times two or more may be used. When a color effect is\\nwanted marquetry is used introducing the various colored woods,\\nmetal, shell, or ivory in the form of ornament on a ground of the\\nwood of which the furniture is constructed.\\nThere are no special difficulties to be avoided in designing a jjattern\\nfor inlay. Almost any ornament that appears well in flat colors will\\nmake good inlay, so that the problem is one of designing a conven-\\ntional ornament suited to decorate the space when rendered in flat\\ncolors.\\nThe nearest approach to inlay is ornament painted on the surface\\nof the wood. This has been a common and handsome method of\\ndecorating furniture, though it is not now popular. One method is to\\ntreat all the ornament flat similar to inlay another is to paint natural\\nforms in a realistic way. The ornament is sometimes painted on the\\nvarnished surface of natural wood, and again it is placed on an\\nenamel. In one class of work painting is executed on a panel first\\ncovered by silver or gold leaf, the design introducing figures, pas-\\ntoral scenes, architectural compositions, etc.\\nThe surrounding parts of the article are thickly varnished, and at\\ntimes specks of gold leaf are mixed with the varnish. Such work is\\nmore or less an imitation of Japanese lacquer work, but is known as\\nVerni.\u00c2\u00ab Martin because during the reign of Louis XV. the brothers\\nMartin secured the exclusive right to make furniture varnished in\\nthis way, they claiming to have discovered the secret of making the\\nlacquer used.\\nThere remains another means for ornamenting the plain surface\\nof furniture woodwork. That is by burning on it with a metallic\\npoint an appropriate design. It is a method that lends itself to suc-\\ncessful treatment in proper hands. Such examples as are most fre-\\nquently seen are not desirable, largely because the patterns burned\\nare not suitable. The color effect is. however, charming, running\\nfrom soft brown tones of a pale color to a deep rich black. A com-\\nbination of carving and burning gives satisfactory results. The wood\\nmay be light in color, Hke white maple, and the carving somewhat of\\nthe Indian (Hindoo) order; this, when complete, has the edges and\\nbackground burned by a cautery. The work then varnished in the\\nusual manner resembles a little old ivory carving and is well suited\\nto certain rooms.", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0102.jp2"}, "103": {"fulltext": "", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0103.jp2"}, "104": {"fulltext": "", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0104.jp2"}, "105": {"fulltext": "nisrosrriox oi- ok-.\\\\.iMi:\\\\T.\\n9.^\\nW haicvcr form of oinaiiKiitalion may he used, it shcnild Ijc borne\\nin mind tlial no amounl of decoration will make a poorly jjropor-\\ntioned or badly formed article good. It may be possible to divert\\nthe eye for a time from the general shape by placing before it a\\nmultitude of small details, but these will generally become tiresome\\nand the article will then be considered as a whole.\\nIn all design work it is not a question of how much ornament, bui\\nhow well the ornament may be designed. It is advisable to use it\\nsparingly, erring, if it may be, on the side of too little rather than too\\nmuch. The object of ornament is to decorate the otherwise plain\\nsurfaces, and if it does not do this it is better left ofif.\\nThe sources of pleasure in all decorative designs are the beauty of\\nforms employed and the sense of study having been given to their\\ncomposition. There is satisfaction in examining a piece of ornament\\nto find it has been arranged with some regard to the massing of the\\nparts instead of being merely placed at random in a careless way.\\nThe pleasure of discovering the plan on which an interesting orna-\\nment was built has been experienced by every designer. The foun-\\ndation should not be so prominent as to be forced on the mind, but\\nit may be so well conceived that a thoughtful study will disclose it\\nhidden among the beautiful forms of which the composition is\\nmade up.\\nWhat may be termed visibility demands attention in the disposi-\\ntion of ornament. Much labor and expense are wasted by placing\\nthe decorative features in positions where they are not seen, or if\\nseen it is to a disadvantage. There is no reason for a finely executed\\nornament so near the floor, or far under a table or chair that it can-\\nnot be seen without getting on the floor. Nor is there any sense in\\ndecorating the frame of a tabic which is presumably to be covered\\ncontinuously by a cloth.\\nThough everyone recognizes the impropriety of the bad disposition\\nof ornament, in this respect, it is not easily guarded against. The de-\\nsigner will find, unless he is extremely careful, that he has indicated\\non his drawings work that will lie entirely lost to view.", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0105.jp2"}, "106": {"fulltext": "CHAPTER VII.\\nTheories of Design, Rendering, Etc.\\nIT is necessary that the designer should be familiar with the his-\\ntoric styles of architecture and furniture. He should also study\\nthe characteristic forms and ornamental details of each period. This\\nwill enable him to recognize the kind of furniture needed to har-\\nmonize with surroundings, learn what has been made and store his\\nmind with material that suggests new forms and ideas. In many in-\\nstances the designer is required to make his work correspond with a\\nhistoric style then his best course is to hunt up good existing ex-\\namples of the style (not necessarily the articles he is working on, but\\nany in the style), and with these before him try to give their char-\\nacter to the problem. When not restricted in any way he should\\nwork out the forms suggested by the purpose for which the furniture\\nis used. Study this purpose and consider the character of the ma-\\nterial used in meeting it. By working with a knowledge of these re-\\nquirements a design may be made that does not resemble any style.\\nIt is more probable, however, a close adherence to the demands of the\\nproblem will lead to the employment of a style, and it is well that it\\nshould, as then some good example may be taken as a model. There\\nare excellent models for modern furniture in all styles, though many\\nof them may not be suited to exact reproduction owing to change of\\ncustoms. But when possible furniture should have the character-\\nistics of some recognized style.\\nMany poor designs are due to a striving to produce something new\\nand original; different from what is seen every day. The result is\\nrarely pleasing. Any article that is designed with the intention of\\nmaking it odd, peculiar, or picturesque is usually poor. Aim to make\\nit beautiful, not by disregarding styles but by working upon rational\\nmethods. The result will be furniture with possibly but little orna-\\nment, and it may be noticeably plain and simple. But it is not de-\\nsirable that all furniture should be richly ornamented, and overload-", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0106.jp2"}, "107": {"fulltext": "THIi SKETCH.\\n95\\niiig- with urnanicnt is, of course, to be avoided. Study good ex-\\namples, whether ancient or modern, and if an article appeals to you\\nas particularly good try and find why it does so. Make a memo-\\nrandum of it, and put it in a scrap book for future use. Often a long\\ntime after seeing several objects it happens that some one of them is\\nrecalled vividly while the others are forgotten. This impression is\\ncaused either by the value of the material from which the object is\\nmade, the beauty, the ingenuity of mechanical construction, or the\\neccentricity of design, and it should be valued accordingly.\\nThe secret of successful study is the knowing what to select, and\\nhow to use the material at hand. To know what not to do is almost\\nas good as knowing what to do. It cannot be expected that a\\ndraughtsman will make a good sketch for an article unless he knows\\nwhat he is trying to draw. The object should be as clearly defined in\\nthe mind as if the completed work was before him, otherwise his\\ndrawing will be vague and uncertain.\\nAs the purpose of the sketch is to show someone, usuall) a person\\nignorant of conventional methods of draughtsmanship, the appear-\\nance of the completed furniture, too much care cannot be taken in\\nmaking the sketch accurate and showing the detail in a way that will\\nleave little doubt in the mind what is intended, that there may be no\\ncause for dissatisfaction with the completed article because the draw-\\ning was not understood.\\nThe sketch should represent the article correctly, and sufficient\\nskill to make such a drawing is obtained by practice. There is no\\nbetter preparation for designing than drawing from existing exam-\\nples of good furniture. By sitting in front of a chair, for instance,\\nand drawing it as it appears a knowledge of the way its curves and\\nlines should be represented in a sketch are learned. It should be\\ndrawn as it is seen, not as it is known to be. That is, if the curve of\\nthe arm looks like a straight line draw it so. If it is necessary that\\nthe curve appear on the sketch, change the position of the object so\\nas to present the line as it is wanted, but do not make the drawing in-\\ncorrect for the sake of presentation. A position can usually be taken\\nthat will show all that is necessary if one drawing does not suffice to\\ndo so make others rather than draw incorrectly.\\nThe completed sketch should be as perfect a picture of the article\\nas the draughtsman can make it in the time available. This is prefer-\\nably a perspective drawing, though not necessarily one constructed\\nmechanicallv. In fact, a freehand drawing made without the use of", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0107.jp2"}, "108": {"fulltext": "96 THEORIES, ETC.\\nthe conventional scales is better. Of course a knowledge of the prin-\\nciples and rules for making- mechanical perspective is necessary to\\ndraw in this way, and if this knowledge is applied as the drawing pro-\\nceeds the result will be satisfactory.\\nThe object may be drawn of any convenient size and in a position\\nthat represents it to the best advantage. Certain articles may be\\ndrawn larger than others and yet appear relatively of the proper di-\\nmensions. For instance, a chair may be drawn quite large to show\\nall its details, while a cabinet is better sketched at a smaller scale, as\\notherwise it appears too large.\\nIt is curious that to the uninitiated a large drawing, or photograph,\\nrepresents a large object and, vice versa, a small drawing a small\\nobject. So, when a light, delicate piece of furniture is to be repre-\\nsented the sketch should be small and delicately drawn.\\nChairs look well drawn so the front is at an angle of about 45\u00c2\u00b0 to\\nthe picture -plane, and with the corner nearest to the eye at a scale\\nof one and a half inch to the foot.\\nIt is not to be expected that a draughtsman can always have his\\nideas sufficiently formulated to enable him to draw a picture at once.\\nSome preliminary work is required. A scale study may be made\\nin orthographic projection to determine the proportion of the whole\\nand the arrangement of the parts and occasionally rough full size\\ndrawings of parts requiring special study are made.\\nThese projection drawings may be of any convenient scale, but\\nmost draughtsmen use one inch or one and one-half inch to the foot.\\nWith drawings made at these scales before him the draughtsman has\\nlittle difficulty in making his sketch correctly.\\nAs any design becomes more attractive by a neat presentation, it\\nis well to make, first, a study of the sketch with pencil, obtaining the\\ngeneral proportions and outline. Then, to save the time of making\\nerasures and corrections, lay a piece of tracing paper over this rough\\nstudy and make a more careful drawing. Repeat the process of\\nmaking tracing copies, correcting the drawing each time until a\\nsatisfactory sketch is obtained. This may then be transferred to\\nbristol board for the final rendering or the last tracing copy is\\nmounted and used as the final sketch. This is, indeed, a good way\\nto do.\\nIt is advisable to keep the rough studies, tracings and notes made\\nwhen working up a design, either by pasting in scrap books or classi-\\nfying in portfolios. They will often be found convenient for dupli-\\ncating sketches, suggesting ideas, etc.", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0108.jp2"}, "109": {"fulltext": "", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0109.jp2"}, "110": {"fulltext": "PLATE XXI.\\nPEN AND INK SKETCH OF A LOUIS XV. CHAIR.", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0110.jp2"}, "111": {"fulltext": "Mi-nir.\\\\fs. g,^\\nThe niediums and nictliods of rcndtrring the final sketch are de-\\npendent on the personality of the draughtsman. The materials used\\nby one designer might not please another, and each may have a differ-\\nent way of presenting the same object. Certain methods have been\\nused by the best men and seem to give satisfactory results, but some-\\none may rightfully claim that other ways are equally as good.\\nThe student can study the advantages and disadvantages of the\\nleading methods and choose the one best suited to himself.\\nThe lead pencil is an exceedingly pleasant medium for furniture\\nsketching when used on a smooth, soft card, like ordinary mounting\\nboard. The point should not be too sharp, and with pencils of differ-\\nent degrees of hardness any amount of elaboration may be given the\\nsketch. It may be delicately drawn in outline, or it may.be bold,\\nbroad and shaded if desired. Pen and ink are, perhaps, the best in-\\nstruments for a clear indication of the facts. They are used by the\\nmajority of designers of experience, and many seem to prefer them\\nto any other mediums. The inks available are the liquid India inks,\\nProut s brown, and writing fluids.\\nIndia ink has the advantage of giving a solid black line that does\\nnot change, and that may be photographed for reproduction readily.\\nIt has the objection of being thick and of making an intensely black\\nline, sometimes too heavy on smooth paper unless a fine pen is used.\\nProut s brown ink is not as intense in color as India ink, but it re-\\nquires the proper combination of pen and paper to give the fine deli-\\ncate line best suited to furniture work.\\nWriting fluid when used with a smooth surface writing paper and\\na moderately fine pen gives very pleasing results. It flows readily,\\nproduces a fine line without the use of an exceedingly fine pen, and\\nthough not black when first used, it turns shortly after. The paper\\nshould be selected according to the ink and pen used rough paper\\nrequires a coarse pen, and vice versa. Bristol board, India ink and\\na Gillot 303 pen make a good combination.\\nSketches may be made in color, but this medium sometimes makes\\nthe furniture appear clumsy and uninteresting. The amount of small\\ndetail necessary to make a sketch serviceable is lost in a water color\\nif it is broadly done, and if it is otherwise the drawing requires con-\\nsiderable time in rendering, besides seeming hard and mechanical.\\nWater color is an excellent medium, however, for sketches of up-\\nholstered work. It enables the draughtsman to show the color of the\\ngoods, the pattern, and also to indicate the tufting with the least\\no", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0111.jp2"}, "112": {"fulltext": "labor. Occasionally a combination of line drawing and color is\\nserviceable, but it requires judicious handlino; or the result is any-\\nthing but artistic.\\nThe purchaser of furniture is sometimes at a loss to know how\\nmuch is necessary to furnish a room comfortably, and he can be ad-\\nvised most readily by the designer if a plan of the room is made and\\non it the furniture is laid out at scale. A convenient scale is one-half\\ninch to the foot.", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0112.jp2"}, "113": {"fulltext": "", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0113.jp2"}, "114": {"fulltext": "MAY 19 1900", "height": "3902", "width": "2513", "jp2-path": "furnituredesigni01nyea_0114.jp2"}, "115": {"fulltext": "", "height": "3884", "width": "2541", "jp2-path": "furnituredesigni01nyea_0115.jp2"}, "116": {"fulltext": "LIBRARY OF CONGRESS\\n014 523 748 8 t", "height": "3960", "width": "2513", "jp2-path": "furnituredesigni01nyea_0116.jp2"}}